{"title":"Striving for Perfection: A New Widor Source","authors":"Matthew Wachtman","doi":"10.22513/bach.52.2.0196","DOIUrl":null,"url":null,"abstract":"Abstract:Charles-Marie Widor was a detail-oriented composer and an even more meticulous editor of his own works, returning to his pieces time after time to make slight alterations and sometimes replace entire sections. This habit is especially true of the second movement of his Symphonie I, Allegretto. Widor produced numerous versions, three of which were published over a span of almost fifty years. Each version differs in various respects, from slight alterations of voicing to replacing entire passages.A newly discovered manuscript in the Riemenschneider Bach Institute (RBI) of Baldwin Wallace University may represent a possible middle point among the three published versions. The manuscript, which includes only the central portion of the Allegretto, was found in the collection of Dr. Albert Riemenschneider, Widor's student and close friend. A thorough comparison of this manuscript to the three published versions (edited by John Near and also held in the RBI) reveals that it is not identical to any one published version. While sections of each published version are comparable to the manuscript, it includes additional, new material that does not appear in any modern edition.Correspondence between Widor and Riemenschneider indicates that Widor often requested Riemenschneider's advice when composing and that Riemenschneider would play and make revisions of Widor's works in front of the composer. The manuscript appears to be in the hand of Riemenschneider or his copyist and exhibits a snapshot of the process of revision, which may represent either Widor's ideas, Riemenschneider's, or a collaboration between the two. This unique and previously unknown manuscript represents an important addition to our understanding of the numerous revisions of Widor's Allegretto.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"BACH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22513/bach.52.2.0196","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:Charles-Marie Widor was a detail-oriented composer and an even more meticulous editor of his own works, returning to his pieces time after time to make slight alterations and sometimes replace entire sections. This habit is especially true of the second movement of his Symphonie I, Allegretto. Widor produced numerous versions, three of which were published over a span of almost fifty years. Each version differs in various respects, from slight alterations of voicing to replacing entire passages.A newly discovered manuscript in the Riemenschneider Bach Institute (RBI) of Baldwin Wallace University may represent a possible middle point among the three published versions. The manuscript, which includes only the central portion of the Allegretto, was found in the collection of Dr. Albert Riemenschneider, Widor's student and close friend. A thorough comparison of this manuscript to the three published versions (edited by John Near and also held in the RBI) reveals that it is not identical to any one published version. While sections of each published version are comparable to the manuscript, it includes additional, new material that does not appear in any modern edition.Correspondence between Widor and Riemenschneider indicates that Widor often requested Riemenschneider's advice when composing and that Riemenschneider would play and make revisions of Widor's works in front of the composer. The manuscript appears to be in the hand of Riemenschneider or his copyist and exhibits a snapshot of the process of revision, which may represent either Widor's ideas, Riemenschneider's, or a collaboration between the two. This unique and previously unknown manuscript represents an important addition to our understanding of the numerous revisions of Widor's Allegretto.
摘要:查尔斯-玛丽·维多是一位注重细节的作曲家,对自己的作品更是一丝不苟的编辑,他会一次又一次地回到自己的作品中做一些细微的修改,有时甚至会替换整个部分。这种习惯在他的第一交响曲《快板》的第二乐章中表现得尤为明显。维多制作了许多版本,其中三个版本在近50年的时间里出版。每个版本在许多方面都有所不同,从声音的轻微改变到替换整个段落。鲍德温华莱士大学Riemenschneider Bach Institute (RBI)的一份新发现的手稿可能代表了三个已出版版本中的一个中间点。这份手稿,只包括快板的中心部分,是在阿尔伯特·莱门施奈德博士的收藏中发现的,他是维多的学生和密友。将这份手稿与三个出版版本(由约翰·尼尔编辑,也在印度储备银行持有)进行彻底比较,发现它与任何一个出版版本都不相同。虽然每个出版版本的部分都与手稿相当,但它包括了在任何现代版本中都没有出现的额外新材料。Widor与Riemenschneider的通信表明,Widor在创作时经常征求Riemenschneider的意见,Riemenschneider会在作曲家面前演奏和修改Widor的作品。手稿似乎在Riemenschneider或他的抄写员手中,并展示了修改过程的快照,这可能代表了Widor的想法,Riemenschneider的,或者是两人之间的合作。这个独特的,以前不为人知的手稿代表了我们对威多快板的无数修订版的理解的重要补充。