Johann Peter Salomon's scores of four Haydn symphonies 1791-1792 : edition with commentary
著者
書誌事項
Johann Peter Salomon's scores of four Haydn symphonies 1791-1792 : edition with commentary
（Studies in the history and interpretation of music, v. 108）
E. Mellen Press, c2004
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注記
Bibliography: p. [317] -321
内容説明・目次
内容説明
This book presents these significant scores in a modern edition that is suitable for scholars and performers. Copious critical notes and discussions of various aspects of the manuscripts, sources, will be most enlightening for musicologists interested in Haydn source materials. H. C. Robbins Landon introduced a citation of authentic parts for Symphony no. 93 in his monumental study, The Symphonies of Joseph Haydn, with the remarks: As this book goes to press, I have made the discovery that parts of all twelve London symphonies were printed by J. P. Salomon with the firm Monzani & Cimador...Textually these parts are of the utmost importance, since comparison with the autographs shows that this edition was made from Salomon's MS. orchestral material and not from the scores.1 Twenty some years after those words were written, score copies of Haydn's symphonies 97, 93, 94 and 98 came to light at the British Library2 that are likewise traceable to Salomon and clearly establish his role as one of the earliest agents for the transmission of the London symphonies in authentic guise.
The scores, which Salomon owned and used, had been produced sometime between 1792 and 1794, most likely at his behest, using the original performing parts or Salomon's own copies of them as their model. Thus, their importance as sources for the symphonies in question can scarcely be overestimated. Michael Ruhling traces the history of these fascinating scores, examining the myriad of details that reflect their striking resemblance to Haydn's own autographs. He reveals that Salomon's scores preserve numerous details of articulation, phrasing, even of note material that are absent from the autographs; and adduces Salomon's later quintet arrangements of the symphonies, wherein the same details are duplicated, as evidence of the sound and manner that shaped the works at their earliest performances. Ruhling concludes his study with first-ever editions of Salomon's score copies. Handsomely engraved and meticulously documented, these editions present a delight to the eye as well as a provocation to thoughtful study.
目次
Commendatory Preface i Foreword iii Acknowledgements v Description and Dating vii Provenance xv Relationship to Other Sources xxiii Select Performance Aspects xxxi Editorial Method xxxix Symphony in C (Salomon No. 1, Hob. I: 97) 1 Symphony in D (Salomon No. 2, Hob. I: 93) 67 Symphony in G (Salomon No. 3, Hob. I: 94) 137 Symphony in B-flat (Salomon No. 4, Hob. I: 98) 193 Critical Notes 267 Bibliography 317
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