Complete Keyboard Works

Urtext

By Jan Pieterszoon Sweelinck

Item Number: BR.EB-8741

ISBN 9790004182062. 9 x 12 inches.

Among the musical milestones of the early 17^th century is the music for keyboard instruments by Jan Pieterszoon Sweelinck (1562-1621). The complete edition by the Sweelinck experts Harald Vogel and Pieter Dirksen is eagerly awaited by performing artists and scholars alike.The edition features all the ascertainably authentic works, and also takes into consideration anonymously transmitted or spurious pieces. The source for the attributions is Pieter Dirksen's book The Keyboard Works of J. P. Sweelinck as well as his research for the Sweelinck Work Catalogue (SwWV), in which Sweelinck's oeuvre has been thoroughly reorganized. In Breitkopf's new edition, the works for keyboard instruments already bear the new SwWV numbers.

Each volume begins with the works transmitted in staff notation, which are followed by those that have been transmitted (exclusively) in German letter tablature. For the first time ever, the difference between the two types of transmission is clearly underscored by the sequence of the works and is made stunningly visible by their reproduction in a modern-day notational form. A third group contains the anonymous and spurious works.During his editorial work Harald Vogel was able to identify the main scribe of the important Sweelinck source Lynar A1 as Andreas Duben, who was active in Stockholm later in his life. As a pupil of Sweelinck's during the last years of the master's life, Duben had access to his manuscripts. The scribe's close connection to these autographs lends further weight to Lynar A1 as the principal source.

The edition consistently offers the authentic form of the works derived from the main source. For the user, this means clearer performing material which, unlike other present-day transcription attempts, does not overload the music text. The many secondary variants are listed in detail in the Critical Commentary, inasmuch as they are essential to an understanding of the work. For the first time, the practical source edition offers a modern-day transcription that discloses all the information value of the source to the user.

Peculiarities from the primary sources have been kept as such, and special aspects of the staff notation and letter tablature were also maintained inasmuch as this was feasible. This applies to note values, the lengths of measures, the distribution of the hands, beaming and many other aspects; only the accidentals and dots extending over bar-lines have been adapted to modern-day notation. Each volume contains a general introduction to Sweelinck's life and works, as well as to the state of the sources, the notation and the editorial technique. In addition, each book also contains an essay on its specific contents written by the Sweelinck experts. All of these texts are printed in German and English. The publication is offered at a modest price and rounded off with a Critical Commentary (in German) that is predominantly in tabular form.

,,It has been a privilege to review and comment upon this fine collected edition, and I trust that the publisher's and editor's initiative will meet with the success that is so clearly deserved. (Gerald Gifford, The Consort)

CD KAIROS 0012642KAI


Bibliografie:

Lehmann Harry: Was ein Ereignis zeitigt. Zu Isabel Mundrys ,,Sandschleifen in: Neue Zeitschrift fur Musik 169 (2008) Heft 1 S. 49-53
Muller Patrick: Augenblickshafte Korrespondenzen. Wege zwischen Musik und Philosophie bei Beat Furrer und Isabel Mundry in: Horen & Denken. Neue Musik und Philosophie hrsg. vopn Marion Demuth und Jorn Peter Hiekel Mainz: Schott Music 2011 S. 137-151

CD KAIROS 0012642KAI


Bibliography:

Lehmann Harry: Was ein Ereignis zeitigt. Zu Isabel Mundrys ,,Sandschleifen in: Neue Zeitschrift fur Musik 169 (2008) Heft 1 S. 49-53
Muller Patrick: Augenblickshafte Korrespondenzen. Wege zwischen Musik und Philosophie bei Beat Furrer und Isabel Mundry in: Horen & Denken. Neue Musik und Philosophie hrsg. vopn Marion Demuth und Jorn Peter Hiekel Mainz: Schott Music 2011 S. 137-151
Der exotische Tonfall des heiter-traurigen japanischen Volks- und Kinderlieds SAKURA das im Symbol der Kirschbluten die Verbindung von reiner Schonheit und unabwendbarer Verganglichkeit beschwort wird in die funktionsharmonische Klangpraxis der europaischen Tradition eingepasst. Bachs harmonisch nicht weniger verfremdende Bearbeitungen der strengen alten Lutherchorale lassen von fern grussen. Immerhin eskalieren meine Variationen wenn auch leicht augenzwinkernd ins Pseudo-Dramatische: die Musik frisst sich gegen Ende an den drei Anfangstonen der Melodie als fortissimo-Tamtamschlage fest das Klavier partizipiert mit breiten Clustern und das Saxophon bricht aus ins quasi ekstatische Improvisieren - ein zeitlich unbegrenzter und zugleich ,,unhaltbarer Zustand aus dem die Musik sich dann schnell wieder zuruck ins Gesittete fluchtet.

Helmut Lachenmann (2006).