QUOTE(fyrtlemyrtle @ Jul 26 2008, 08:18 AM)
True, Mad Tom, but there are good editions and bad editions, good editorship and bad editorship, good scholarship and bad scholarship.
Yes I could rant for ages about this!
But - going off at a slight, but important tangent - does anyone know of any edition of Chopin where the staccato markings and Ped indications are not mutually contradictory - or of a book that properly explains this problem, instead of ignoring it?
e.g. Op 55. Am I supposed to play the bass line Staccato as marked, and Pedal, if at all, slightly after the note (Which actually sounds very good - though unconventional). Or am I supposed to use the pedal to hold the bass, which is what most pianists do, and which creates a completely different effect, in which case, why is the bass line marked staccato?
I have ben told that it is "Obvious" that you are supposed to hold the bass line with the pedal, but I don't see what is so obvious about it. It is conventional, but that means nothing, unless there is a sound reason why it has become the convention. I actually prefer the sound of the first way, but of course if I play it like that most listeners will think that I am simply playing it wrong.
Which markings are Chopin's. Which are editorial? If Chopin himself used contradictory markings, then what did he mean? Why would any musician write such notation when nothing is more certain than that it would cause headaches for thousands of pianists over centuries. Why should such a simple point ever become a problem at all - surely it is the job of any editor to clarify such difficulties of reading? Not to add to them.