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Press Releases
Subito Music Announces New Editions of Works by Mozart and Schumann by Conductor David Bernard
FOR IMMEDIATE RELEASE
SUBITO MUSIC HAS ANNOUNCED NEW EDITIONS OF THE MOZART CLARINET CONCERTO IN A, K. 622 AND SCHUMANN’S SYMPHONY NO. 2, OP. 6 BY CONDUCTOR DAVID BERNARD
March 26, 2015, New York City—Subito Music has just published new editions of Mozart’s Clarinet Concerto in A, K. 622 and Schumann’s Second Symphony, Op. 61 by the noted American conductor David Bernard. The scores and parts for the new editions can be obtained through Subito Music’s website at http://www.subitomusic.com/ or http://smds.subitomusic.com/davidbernard. Mozart: Clarinet Concerto in A, K. 622 Score & parts: $250 Score: $75
“The newly engraved finale parts and score are designed to provide an excellent performing edition of the work for orchestras,” states Maestro Bernard. “Most of Mozart's works benefit from the Neue Mozart Ausgabe's painstaking process using autographs and other source materials to right the wrongs of poor editing decisions of older editions. However, the Mozart Clarinet Concerto brings unique challenges to conductors and librarians—with the exception of a fragment autograph score of an early version written for Basset Horn in G, the autograph for the final version for Basset Clarinet in A (a different instrument) is lost. The only complete materials surviving were editions that were not only heavily edited by publishers in the traditional sense (articulations, phrasing and in some cases pitches, with considerable error and inconsistency), but also with the solo part transformed to be played on a traditional clarinet in A, likely as a way to sell more sheet music as the Basset Clarinet was, as it is today, quite rare. In recent years, there has been a renewed focus on reuniting the Basset Clarinet with Mozart's Clarinet Concerto---both by building and refining these rare instruments, and also by reconstructing a solo part for this instrument that is unencumbered by the more limited range of the standard clarinet.”
“Unfortunately, with all of the focus on restoring the Basset Clarinet part, the orchestral materials have been seriously neglected. The early editions contain inconsistent articulations, dynamics and pitches. Most critical edition editors are focused on conforming their editions to autograph sources, and are usually not very good at developing performing editions that require decisions about notation that are not supported literally by an autograph source. Since the Mozart Clarinet Concerto does not have an autograph source and the remaining materials are of poor quality, the output of the Neue Mozart Ausgabe's standard approach in the Bärenreiter materials, while interesting and certainly ‘cleaner’ that the older Breitkopf parts, is far from a definitive source for orchestral performing materials. And unfortunately many orchestras use NMA/Barenreiter for this work expecting a similar level of quality and value as NMA/Bärenreiter editions for other Mozart works but actually receive materials that are far from a complete or even a viable solution given the incompatibility between the source materials and the NMA approach.”
Maestro Bernard’s new Subito edition of the Mozart clarinet concerto was used in his recent performance of the work with the Park Avenue Chamber Symphony featuring Stanley Drucker, and it will be used again in a subsequent performance of the work with the South Shore Symphony Orchestra also featuring Mr. Drucker. In preparing this edition Maestro Bernard has corrected errors and applied consistent articulation and phrasing in line with the stylistic needs of the work. It is Maestro Bernard’s hope that this edition will be helpful to orchestras and conductors who are looking for better options than the currently available editions of the orchestral materials, particularly since the Clarinet Concerto is considered to be one of Mozart’s greatest musical statements.
Schumann: Symphony No. 2 in C-Major op. 61 Score & parts $375 Score $95
In discussing his new Subito edition of Schumann’s Symphony No. 2 Maestro Bernard has sought to clarify the textures of this often revised work. His objective has been to add new voicings of chords, more coherent lines and clearer textures. His intention throughout has been to achieve more transparency than Schumann’s original score, which he believes is highly important since the Schumann work is very much an homage to J. S. Bach. Schumann incorporated many compositional elements we associate with Bach, including opening the Symphony with a Chorale Prelude and infusing the symphony with contrapuntal elements, and even quoting “The Musical Offering” directly. In retouching Schumann’s Symphony No. 2, it has been Maestro Bernard’s intention to elucidate more clearly the work’s connection to Bach.
David Bernard, Music Director and founder of New York City’s Park Avenue Chamber Symphony, has gained recognition for his dramatic and incisive conducting in over 20 countries on four continents, including a nine-city tour of the People's Republic of China and a guest conducting assignment with the China Conservatory Orchestra.
Active throughout the greater New York City area, Maestro Bernard has appeared as a guest conductor with the Long Island String Festival, the Massapequa Philharmonic, the New York Symphonic Arts Ensemble, the Putnam Symphony, as well as the South Shore Symphony. Mr. Bernard has previously served as Music Director of the Stony Brook University Orchestra, the Gilbert and Sullivan Light Opera Company of Long Island, and Theater Three. Previously Bernard held the post of Assistant Conductor of both the Jacksonville and Stamford symphony orchestras.
In celebration of the orchestra’s 15th anniversary, Maestro Bernard led The Park Avenue Chamber Symphony in an ambitious program of Stravinsky’s Le Sacre du Printemps (The Rite of Spring) and the Wagner/Maazel The Ring Without Words at Jazz at Lincoln Center’s Rose Theatre, to high critical acclaim. Maestro Bernard is an alumnus of The Juilliard School, Curtis Institute of Music, Stony Brook University, Tanglewood, and Saratoga Performing Arts Center.
Subito Music Corporation (SMC) is widely recognized as a leader in the concert music publishing industry with a reputation for publishing, producing, and distributing the finest quality music with state-of-the-art service. SMC provides a wide range of production and distribution services for both composers and publishers, including engraving, printing, rental, sales, and copyright administration.Under the Subito (ASCAP) and Notevole (BMI) imprints, SMC publishes a select roster of classical scores as well as world-class, prize-winning composers including Michael Abels, Kenneth Frazelle, Nancy Galbraith, Susan Kander, James Lee III, Dan Locklair, Steven Mercurio, Paul Moravec, Leanna Primiani, Daniel Bernard Roumain (DBR), Roberto Sierra, and Judith Lang Zaimont.
For further information, please contact www.hemsingpr.com or telephone 212 772 1132.
SUBITO MUSIC HAS ANNOUNCED NEW EDITIONS OF THE MOZART CLARINET CONCERTO IN A, K. 622 AND SCHUMANN’S SYMPHONY NO. 2, OP. 6 BY CONDUCTOR DAVID BERNARD
March 26, 2015, New York City—Subito Music has just published new editions of Mozart’s Clarinet Concerto in A, K. 622 and Schumann’s Second Symphony, Op. 61 by the noted American conductor David Bernard. The scores and parts for the new editions can be obtained through Subito Music’s website at http://www.subitomusic.com/ or http://smds.subitomusic.com/davidbernard. Mozart: Clarinet Concerto in A, K. 622 Score & parts: $250 Score: $75
“The newly engraved finale parts and score are designed to provide an excellent performing edition of the work for orchestras,” states Maestro Bernard. “Most of Mozart's works benefit from the Neue Mozart Ausgabe's painstaking process using autographs and other source materials to right the wrongs of poor editing decisions of older editions. However, the Mozart Clarinet Concerto brings unique challenges to conductors and librarians—with the exception of a fragment autograph score of an early version written for Basset Horn in G, the autograph for the final version for Basset Clarinet in A (a different instrument) is lost. The only complete materials surviving were editions that were not only heavily edited by publishers in the traditional sense (articulations, phrasing and in some cases pitches, with considerable error and inconsistency), but also with the solo part transformed to be played on a traditional clarinet in A, likely as a way to sell more sheet music as the Basset Clarinet was, as it is today, quite rare. In recent years, there has been a renewed focus on reuniting the Basset Clarinet with Mozart's Clarinet Concerto---both by building and refining these rare instruments, and also by reconstructing a solo part for this instrument that is unencumbered by the more limited range of the standard clarinet.”
“Unfortunately, with all of the focus on restoring the Basset Clarinet part, the orchestral materials have been seriously neglected. The early editions contain inconsistent articulations, dynamics and pitches. Most critical edition editors are focused on conforming their editions to autograph sources, and are usually not very good at developing performing editions that require decisions about notation that are not supported literally by an autograph source. Since the Mozart Clarinet Concerto does not have an autograph source and the remaining materials are of poor quality, the output of the Neue Mozart Ausgabe's standard approach in the Bärenreiter materials, while interesting and certainly ‘cleaner’ that the older Breitkopf parts, is far from a definitive source for orchestral performing materials. And unfortunately many orchestras use NMA/Barenreiter for this work expecting a similar level of quality and value as NMA/Bärenreiter editions for other Mozart works but actually receive materials that are far from a complete or even a viable solution given the incompatibility between the source materials and the NMA approach.”
Maestro Bernard’s new Subito edition of the Mozart clarinet concerto was used in his recent performance of the work with the Park Avenue Chamber Symphony featuring Stanley Drucker, and it will be used again in a subsequent performance of the work with the South Shore Symphony Orchestra also featuring Mr. Drucker. In preparing this edition Maestro Bernard has corrected errors and applied consistent articulation and phrasing in line with the stylistic needs of the work. It is Maestro Bernard’s hope that this edition will be helpful to orchestras and conductors who are looking for better options than the currently available editions of the orchestral materials, particularly since the Clarinet Concerto is considered to be one of Mozart’s greatest musical statements.
Schumann: Symphony No. 2 in C-Major op. 61 Score & parts $375 Score $95
In discussing his new Subito edition of Schumann’s Symphony No. 2 Maestro Bernard has sought to clarify the textures of this often revised work. His objective has been to add new voicings of chords, more coherent lines and clearer textures. His intention throughout has been to achieve more transparency than Schumann’s original score, which he believes is highly important since the Schumann work is very much an homage to J. S. Bach. Schumann incorporated many compositional elements we associate with Bach, including opening the Symphony with a Chorale Prelude and infusing the symphony with contrapuntal elements, and even quoting “The Musical Offering” directly. In retouching Schumann’s Symphony No. 2, it has been Maestro Bernard’s intention to elucidate more clearly the work’s connection to Bach.
David Bernard, Music Director and founder of New York City’s Park Avenue Chamber Symphony, has gained recognition for his dramatic and incisive conducting in over 20 countries on four continents, including a nine-city tour of the People's Republic of China and a guest conducting assignment with the China Conservatory Orchestra.
Active throughout the greater New York City area, Maestro Bernard has appeared as a guest conductor with the Long Island String Festival, the Massapequa Philharmonic, the New York Symphonic Arts Ensemble, the Putnam Symphony, as well as the South Shore Symphony. Mr. Bernard has previously served as Music Director of the Stony Brook University Orchestra, the Gilbert and Sullivan Light Opera Company of Long Island, and Theater Three. Previously Bernard held the post of Assistant Conductor of both the Jacksonville and Stamford symphony orchestras.
In celebration of the orchestra’s 15th anniversary, Maestro Bernard led The Park Avenue Chamber Symphony in an ambitious program of Stravinsky’s Le Sacre du Printemps (The Rite of Spring) and the Wagner/Maazel The Ring Without Words at Jazz at Lincoln Center’s Rose Theatre, to high critical acclaim. Maestro Bernard is an alumnus of The Juilliard School, Curtis Institute of Music, Stony Brook University, Tanglewood, and Saratoga Performing Arts Center.
Subito Music Corporation (SMC) is widely recognized as a leader in the concert music publishing industry with a reputation for publishing, producing, and distributing the finest quality music with state-of-the-art service. SMC provides a wide range of production and distribution services for both composers and publishers, including engraving, printing, rental, sales, and copyright administration.Under the Subito (ASCAP) and Notevole (BMI) imprints, SMC publishes a select roster of classical scores as well as world-class, prize-winning composers including Michael Abels, Kenneth Frazelle, Nancy Galbraith, Susan Kander, James Lee III, Dan Locklair, Steven Mercurio, Paul Moravec, Leanna Primiani, Daniel Bernard Roumain (DBR), Roberto Sierra, and Judith Lang Zaimont.
For further information, please contact www.hemsingpr.com or telephone 212 772 1132.
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