Re: Composers vs Editors: A Helpful Addition?
Posted: 12 Feb 2016, 16:42
The celeste additions in Ondine give it the J. Williams touch, Knut. Don't you like Star Wars?
But seriously, I agree with all of your comments: harp harmonics would be lovely for the solo, somewhat like those in the 1st movement of the Ravel Piano Concerto. The Peters edition terminates the pedal editorially on the first note of that solo. The first edition has the termination a little after beat 3 of the previous measure as if silence were to ensue before the solo and as in the orchestration. I have always preferred some sort of resonance behind the solo, achieved by lifting the pedal gradually through the 1/4-rest before the solo, but leaving it slightly depressed so that the felt is barely in contact with the strings through the solo. Perhaps this could be achieved orchestrally with a few strings sustaining a D minor triad almost inaudibly behind the solo.
The orchestral version of the measure that started this thread would be very different from the original, but some sort of written ritardando effect seems in order. I don't care for what happens in the arrangement in that the accompaniment is indistinct, especially on the third part of the RH triplet.
But seriously, I agree with all of your comments: harp harmonics would be lovely for the solo, somewhat like those in the 1st movement of the Ravel Piano Concerto. The Peters edition terminates the pedal editorially on the first note of that solo. The first edition has the termination a little after beat 3 of the previous measure as if silence were to ensue before the solo and as in the orchestration. I have always preferred some sort of resonance behind the solo, achieved by lifting the pedal gradually through the 1/4-rest before the solo, but leaving it slightly depressed so that the felt is barely in contact with the strings through the solo. Perhaps this could be achieved orchestrally with a few strings sustaining a D minor triad almost inaudibly behind the solo.
The orchestral version of the measure that started this thread would be very different from the original, but some sort of written ritardando effect seems in order. I don't care for what happens in the arrangement in that the accompaniment is indistinct, especially on the third part of the RH triplet.