Regarding the version/edition question, I have an old recording (on vinyl-- remember that??) of the six Brandenburg concertos performed by the Academy of St. Martin with Sir Neville conducting. Horn players are Barry Tuckwell, and an unnamed second player who I believe was Neill (sp?) Sanders.
What is interesting is that all six concertos were extensively researched and revised by Prof. Robert Thurston Dart (1921-1971), a noted British historian/musicologist/harpsichord player, and are very different than any other version I've played, including the trio in question. Brilliantly performed on the recording, and very nice to listen to as well-- up-tempo, and 'jaunty' in style, with all repeats. This set was issued as a "first recording of the original version" [quote from the recording's liner notes] and Prof. Dart provides his rationale for his revisions in the booklet enclosed with the recording. The concertos were originally broadcast on the B.B.C., February 21, 1971, with Sir Neville conducting from the first violin chair. The surprise? This recording also has Tuckwell performing the Second Brandenburg on horn. Again, spectacular playing-- and note perfect. If you can get hold of a copy, it's well worth a listen. Issued by: Philips, ser. #6700-045, 2 L.P.'s. Regards, martin bender On 23-Feb-10, at 2:47 PM, [email protected] wrote: > I think the trouble comes from what types of horns we're playing on > more > than what the notes are. > > Bach didn't intend them for the standard F/Bb double horn. > > If you play them on an instrument that's closer to the original like > a high > F or Bb horn then the question changes to endurance rather than > being able > to play the notes. > > That's why the descant horns are there. You can even buy high G > horns if > you want. > > As a side note, when I had a Bb/bb descant and when people said I was > cheating I would usually give them the horn and say "You try it". > > I don't have that horn anymore though as I never had much of a use > for it. > > -William > > > In a message dated 2/23/2010 1:55:23 P.M. Eastern Standard Time, > [email protected] writes: > > Quoting David Thompson: > >> >> Nelson Dalley wrote: >>> Nobody in the audience knows the difference when playing >>> the revised version >> >> Unfortunately, that is not at all true, as witnessed by the fact >> that the >> original poster clearly noticed this little bit of cheating going >> on - > and >> not from a live performance where visual cues might help, but from a >> recording they were hearing over the internet. >> >> The reality is that it is very obvious when players do this - we >> CAN hear >> lines so it is not legitimate to say that it adds up to the same >> result - >> and honestly I have never understood why people felt it was either > kosher or >> really all the beneficial to do so. If you are playing appropriate >> equipment for Brandenburg 1, and generally have the technical >> command to > be >> comfortable performing the work as a whole, those couple of >> octaves will > not >> be the greatest challenges in the work. > > Amen, brother! > > This lick is a great example of the difference between playing the > notes Bach wrote and playing the music Bach wrote. Besides, if Aubrey > Brain could play it as written on a peashooter with a B-flat crook in > the days before tape editing, so can anyone else who has any business > playing the work in the first place. > > Howard Sanner > Who will never be in the business of Brandenburg 1 > [email protected] > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/embee%40magma.ca > _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
