Bevington Posted February 9, 2011 Share Posted February 9, 2011 If anyone plays this fugue, I wonder whether you may have some ideas about wayward accidentals - there are some obvious misprints but one or two others are borderline. I use the H W Gray 1983 reprint of their 1940 edition. The fugue begins on page 30. In bar 15, there are A naturals indicated on the first beat. On the third beat the implication is that the LH plays an A natural to clash with a pedal A flat - certainly doesn't sound logical. However it seems that both could be possible - either A naturals or A flats, the latter sounding a little more in keeping. At the bottom of the next page (bar 28) the last note is implied as A natural ... but again an A flat makes good sense. Any ideas to convince me either way are welcome. My recording of Dupre playing it is too muddy too be clear! Link to comment Share on other sites More sharing options...
Malcolm Farr Posted February 10, 2011 Share Posted February 10, 2011 Hi JOR I use the Bornemann - more about which, below - and have always taken the bar 15 and bar 28 notes to which you refer as A natural, despite the apparent clash. The first of these sounds better to me as an A natural, at least on the basis of the melodic line ... but then, one has to play the other parts too. Interestingly, the second note A (the semiquaver) in the upper right hand part in bar 29 isn't marked, and so my natural assumption is that it is intended as an A flat. However, an A natural seems to me to fit well, given the structure of the line. Just a bit further on, in bars 36 and 37 (if I can count correctly), the last right hand D in bar 36 is a natural, whereas the first right hand D in bar 37 is specifically marked as a flat. I wish Dupré, or at least his editor, had made it just as clear throughout! Back to the Bornemann, I've never actually noticed it before, but below the Bornemann details on the cover, below everything else in French, it says "Copyright 1940 by The H. W. Gray Co, Inc - New York". There is a similar notation inside. So there must have been some association, or licensing - but what, I don't know... Rgds, MJF Link to comment Share on other sites More sharing options...
Bevington Posted February 14, 2011 Author Share Posted February 14, 2011 Hi JOR I use the Bornemann - more about which, below - and have always taken the bar 15 and bar 28 notes to which you refer as A natural, despite the apparent clash. The first of these sounds better to me as an A natural, at least on the basis of the melodic line ... but then, one has to play the other parts too. Interestingly, the second note A (the semiquaver) in the upper right hand part in bar 29 isn't marked, and so my natural assumption is that it is intended as an A flat. However, an A natural seems to me to fit well, given the structure of the line. Just a bit further on, in bars 36 and 37 (if I can count correctly), the last right hand D in bar 36 is a natural, whereas the first right hand D in bar 37 is specifically marked as a flat. I wish Dupré, or at least his editor, had made it just as clear throughout! Back to the Bornemann, I've never actually noticed it before, but below the Bornemann details on the cover, below everything else in French, it says "Copyright 1940 by The H. W. Gray Co, Inc - New York". There is a similar notation inside. So there must have been some association, or licensing - but what, I don't know... Rgds, MJF Hi MJF, As far as editions are concerned, my H W Gray is one of those reprints that looks fuzzy and occasionally blurred - like a school photocopier at 4.30pm Friday... I am intrigued by your ideas about the A flats. In some ways they make good sense, but there is a part of me that taps into a sort of modality that Dupre's music seems to exude . . . and therefore I wonder if things should be equal - i.e. the A flats in bar 15 agree with each other and at the end of bar 28 a restored A flat to again continue the modal feel . . . what do you think? Link to comment Share on other sites More sharing options...
timothyguntrip Posted February 15, 2011 Share Posted February 15, 2011 Thought this might be the ideal place to raise a similar issue concerning another Dupre piece. The Allegro Deciso from Evocation, Op.37 - on the final page, 4th system, 2nd bar - can't help thinking that the C flat in the left hand ought to be a natural - it certainly seems to sound strange otherwise! Would also seem to be a misprint as in the right hand they are naturals. Any thoughts? Link to comment Share on other sites More sharing options...
Bevington Posted February 16, 2011 Author Share Posted February 16, 2011 Thought this might be the ideal place to raise a similar issue concerning another Dupre piece. The Allegro Deciso from Evocation, Op.37 - on the final page, 4th system, 2nd bar - can't help thinking that the C flat in the left hand ought to be a natural - it certainly seems to sound strange otherwise! Would also seem to be a misprint as in the right hand they are naturals. Any thoughts? I cannot actually help with the Evocation as I do not play it - but it seems to me that there are misprints lurking in a number of places in Dupre's music. I wonder if the best approach is to ignore obvious out-of-place clashes - such as the previously mentioned A flat against A natural - and go with what sits melodically, harmonically and logically. When I come across a questionable section I play over parts separately, or in single lines, to get the 'flow' of where it is going; and then usually find that what feels to be right is usually the best answer. A bit arbitrary perhaps . . . But of course the Evocation may be less logical! Link to comment Share on other sites More sharing options...
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