Základní informace
Typ dokumentu Dopis
OdesílatelSacher, Paul
Odesílatel (korporace)
Lokace odesláníSchönenberg - Pratteln
Datum odeslání11.04.1951
PříjemceStein, Erwin
Příjemce (korporace)Boosey & Hawkes, London
Lokace přijetíLondýn
Poznámka k lokaci přijetí295 Regent Street
JazykAngličtina
Původ, datum získánípřepis Jany Frankové, 08/2017; originál dopisu uložen v Paul Sacher Stiftung
Předchozí vlastník
Současný vlastníkPaul Sacher Stiftung, Basilej
Signatura současného vlastníka
Signatura v IBMBH 1951-04-11
Obsah a fyzický popis
Stručný obsahPaul Sacher děkuje Erwinu Steinovi za dopisy z 19. a 29. 3. [1951]. Bohužel provozovací materiály k Persephoně Igora Stravinského nedorazily do Vídně včas. PS vyjmenovává řadu dotazů k partituře Persephony. Partitura TOCCATY E DUE CANZONI Bohuslava Martinů je psána lépe než SINFONIA CONCERTANTE, v případě potíží nabízí PS pomoc. Dále vyjmenovává několik chyb, které postřehl.
Přepis dopisu

Dear Mr. Stein,

                Thank you very much for your letters of 19th and 29th March. I was so sorry not to have seen you either in London or in Vienna. It has been ever so kind of you trying to dispatch from Italy to Vienna the material of “Persephone” which I used in Basle. Unfortunately it had not arrived there when I left. The material I had in Vienna was very good and contained not many mistakes. To my regret there was no score with German text, so I had to copy it myself into my score. This translation is no good at all, it is very unpoetical. I have taken score and orchestra material with me and am going to use it for my performance in Cologne, thus avoiding further correction of the mistakes. Vocal scores and choir parts have stayed in Vienna.

                Could I ask you a few questions about the score of “Persephone”? :

                31: the first trombone has D in the score whereas the violoncelles play C sharp.  I believe this could be right. 2 bars before 40: second note in the trombone is G, in the vocal score it is G sharp. I suppose the score is right (compare its parallel at No. 36). 50: first oboe, first note is A flat in the score, in the vocal score A. Which is right? One bar before 141 in the violas: the last note but one: ought it to be F or F sharp? 143: 3rd flute: the first note ought to be D (same as 2nd oboe and 3rd clarinet) although score and parts have C by mistake. 2nd bar after 178 contralto: the last note ought to be E not D (as printed in the choir part). 3rd bar after 222: the soprano should sing C not B flat as printed in the score (part and vocal score are all right). 2nd bar after 223: bass: the last two notes should probably be F not G flat, although score, vocal score and choir part have G flat.

                Martinu, “Toccata e due Canzoni » : This score is indeed better written than the “Sinfonia concertante”. If there are any problems, I am always willing to help. At present I can tell you the following: first movement, one bar before 170: 2nd note in the piano is G not F. 5th bar after 190: the piano chords are not clear, partly even wrong. 2nd bar after 210: first violin: the 5th demi-quaver ought to be B flat not A. 1st Canzone: 2 bars before 130: 2nd violin: the last crotchet ought to be F not E. 2nd Canzone: 5th bar, the last notes in the piano ought to be D flat – E flat.

                How did you like the Music Festival in Vienna?

                                                                               Yours sincerely

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