Philharmonia Haydn Quartet Study Scores
Posted: Wed Feb 16, 2011 2:47 pm
I have the old three-volume Kalmus set of miniature scores of "30 Celebrated String Quartets" of Haydn. As far as I can tell, these were published in the mid 1940s. They are reprints of both the Eulenburg scores edited by Wilhelm Altmann and a set of Philharmonia scores, the latter of which seem to have been printed in the late 1920s and 1930s.
Op. 17, No. 5
Op. 20, No. 5
Op. 74, No. 3
Op. 76, No. 2
Op. 76, No. 3
Op. 76, No. 4
Op. 76, No. 5
Op. 77, No. 1
It's not difficult to tell the differences between the Eulenburg and Philharmonia scores. Philharmonia tends to use a Sans-Serif font for tempo markings and rehearsal numbers (which may have been provided by the editors; might they correspond to sets of parts published by Universal Edition?). Also, Philharmonia's measure numbers are below the staff and appear every 5 measures, unlike Eulenburg's which appear every 10 measures and are above the staff.
A more significant difference, though, is that Philharmonia's editors appear to have been less interventionist than Eulenburg's Altmann in "modernizing" notation; that is, changing grace notes to "regular" note values. And I suspect that there may be other differences as well, but I haven't done an extensive comparison (nor, have I checked, for example, the recent Henle or Peters editions).
The upshot is: if the Philharmonia represent better readings that the Eulenburgs, it would sure be nice to have these available through IMSLP!
musicologyman
Op. 17, No. 5
Op. 20, No. 5
Op. 74, No. 3
Op. 76, No. 2
Op. 76, No. 3
Op. 76, No. 4
Op. 76, No. 5
Op. 77, No. 1
It's not difficult to tell the differences between the Eulenburg and Philharmonia scores. Philharmonia tends to use a Sans-Serif font for tempo markings and rehearsal numbers (which may have been provided by the editors; might they correspond to sets of parts published by Universal Edition?). Also, Philharmonia's measure numbers are below the staff and appear every 5 measures, unlike Eulenburg's which appear every 10 measures and are above the staff.
A more significant difference, though, is that Philharmonia's editors appear to have been less interventionist than Eulenburg's Altmann in "modernizing" notation; that is, changing grace notes to "regular" note values. And I suspect that there may be other differences as well, but I haven't done an extensive comparison (nor, have I checked, for example, the recent Henle or Peters editions).
The upshot is: if the Philharmonia represent better readings that the Eulenburgs, it would sure be nice to have these available through IMSLP!
musicologyman