ED 1 To O N ( MI $ Ceeeand Copecerte Foye Cc larine iste ited [eater mec Reaveeae cea tein Arn Caplin. Cop, who ws born on Novener 14, 1900 and ded en December 2 190, wasnt ely ove of feet poet composes doo he mtb mcg te 2 ey. A ica eee pac swe all ow the ffs of Beny Gino npn A Coal ogee coro cr nana ae oct Comer Caled Sag Oca ‘isp ad yi (94) Tis Feed neta eee wil ovenberDeene 1990 io (Vlue 18 Nin which te sone tt exten ric ur of Bela Bans Conan (oi Cet wel Nate Raves ard ond Alp foe te tng unt ba met Ae eae fee tac techies ce epi oa hn pte ls og te ny of os Una os and tecnigrs of the master compos ofall ens Ts cn von be sshd ony byte cana of ie se) I eae eeeaet ant ie en te msn wo jig dat pribtondn be avony nigel isa Saad bea ey piney eo te memos cnmis ere. Bip te iat crest core es ras a egeriatted fesd wee ret fife isaac vs fom core one tion of compotion cm te i tobe hed clei yo et ft ens in be pcan pe PRI by Charles Stier sonal sl, then 2 great dal ofthe at of intr- pretation in performance is that of revealing the form of the work. The frst duty ofthe per formers in this loyalty tothe composer and to the music. He must accomplish this difficult task with intelligence, clarity and integrity How the performer reveals te shape o form of the masterpiece is by the magnitude of his or her techical eloquence combined with the very personal concept of beauty of sound. It thene- fore naturally follows that craftsmanship i a prerequisite to artistry. One certain aspect of craftsmanship is accuracy and attention to etl ‘Aaron Copland (1900-1990), Concerto for Clarinet and String Orchestra with harp and piano (1948). The bass forthe coretions in the solo clarinet pat inthe reduction fr clarinet and piano (Boosey & Hawkes No. 16656, copyright 1950) is the comparison with the orchestral sore (Boosey & Hawkes No, 17942, copyright 1952). According to Bob Wharton, caitor at Boosey & Hawkes his rata file ofthe seore contains no conection Abbreviations: m=measure dele=delete L=line _p.= page 1m.25= dele tenuto marking on b.1 m44,b2= mfnot f m, dele the two decrescendo markings ‘and substitute: dim. m2. The angulation pf the Vin, cve should read: PPEPPIPSI SPL PP ier ‘m68, b= dele tenuto marking 'm.70, b.3= dele tenuto marking ‘m82, b= dele tenato marking ‘mB8, b.2= dele Hold Back, substitute Rit m91, b.3= dele tenuto marking 1m96, b2=delef ‘Tue Carnet $s nog S oy \ | | | | ) ae | 2, 19, m3 = dele ff on b2 and add ff on b3 12, last ine, m2 se the crescendo mark: ing 2s line,m:3= dele mt 3.1.7, shouldbe a Wand not a stac- cto | 3.1.10,m3-4 should wad == st. rots m.120,b.1 = ald> tnIS12 The Vi cesshld eat JD le Perky 7 Me Fis notin the seore but is implied ‘m.167, 6.2 = dele the crescendo marking, sub. stitute poco ese... upto the fon M169, b4 m168,b4=dele f m1@,b4=addf m.167-169 = dele all 7 m73,b2=add cese 1m.176-188. In the score this passage is notated | with a Key signature of no sharps or flats. The notes appear as the flat enharmonic ‘equivalent of those on the clarinet part 1m.194 = The crescendo marking should beg on b.2, not b.1. Dele slur marking from 1m.194,b2 t0m.195 1m201 = The cue in m. 201 is for Via. and the ‘cue beginning in m.202 is for Vin Neither ofthese passages is slurred,aS the clarinet entrance should be marked mi ber, notin m.237 2.46. Inthe soore this pitch is notated as | Beoublefa | 9 93 shold reap 250 = should read mp p with the mmediatcly decescendlo marking beginning after the mp, notin m.2 2.259, b3 - m260, b.l | tots should each have a b3 - m.262, b.L = the three quarter he three quarter “sa mee si b2should ead sthe bein bis “reise asin 03 = delete eescend making a Same Tempo 298 = dele mp on b.3 and add it on the sigh ee pick to m.299 136 363= Inthe Ve. le a an> on 6 jas 1/20f b2; m.362, bl; m.362, b3: 1.363, b.L;m.363, lst 1/2 of b.2 1365, ast 12 of b.2 = add a tenuto mark on thee __ 369 = the dynamic should appear underneath the staf as mf lightly. With bite should be lover the measure as an extra interpretive marking. last 1/2.of b.2 = dele tenuto mark, add > shouldread not é | m.404, b.1 = the rhythm of the printed cue should read 46-411 = add sf undemeath all ofthe > in the ViajVe. cue 413,b2=c natural aS =the crescendo marking should actually begin on te last eighth-note of m.414 ma5,b2=cnatural mai, last 12 of b3 = ald > ma8= the rhythm of te lst two notes should mal9,b =add> 24, last half of b3 = add > 30,3 = app sf marc itensivo 1,40 = last 1/2 of be should be 2 sixteenth ‘flats and dele breath mark m431, b.1 = dele sf and the last 1/2 of bt ‘ould be 2 sixteenth note flats m432,b.l =dele sf 1m432, b3-4= should only be 1.434 = ai a breath mark after the high g on b3 1.440, last 1/2 of b.2= add > ‘m441 = add Same Tempo ma4a2=ffnotf 1m463, last 1/2 of .2= add > on the d ‘m64 last 1/2 of b.2 = add > on the d, not & staccato m.46s = dele f incisive 1m466, b3=the d othe c should be slurred ‘ma66, las 1/2 of b4 = should be > and not staccato mark 1m469, b.4 = the > is not in the score, but is implied and correct 1.47), last 1/2 of b.2 = should be > and not staccato mark ‘m47I, last 1/2 of b2 = should be > and not staccato mark m.472, last 1/2 of b.2 = should be > and not staccato mark ‘m473, last 1/2 of b2 = should be > and not staccato mark 48! = dele marc m488,b3=add> ‘ma89 =add > on b.1.23 and 4 1m496 = in the score the Ist two notes are wrt ten as an A’ and an F ‘m,497 = in the score these two notes are written Dennis Bamber Company President musicians helping ‘musielans.” Bri i February / March 1992 WOODWINDS? Ifyou didn’t buy from me. . . You probably paid too much. EWOODWIND BU EYAL Index of Orchestral and Operatic Excerpts for Clarinet Compiled by Melvin Warner © Locate excerpts ina matter of seconds. © This index lists over 500 excerpts in 16 separate publications (39 volumes) containing works by 130 composers {from Adam to Zandanai «# By looking under the con ame, one can find the publication, toluame, and page number of any available excerpt “ood send ‘30.08 us $2.00 sniping to ‘Moen Press Boe Dekalp, iL 6011S ‘on 2103 weeks fr devery \When you look to us for ‘dreat prices, you! realize there's a fantastic selection too! We have everything from Bassoons to » 9° Nak for our FREE colossal Woodwind Catalog of increaibte values. ‘TOLL FREE 1-800-348-5003 19880 State Line Rd. eerste Pace 49Pace 50 De ue Cokie itt Petco Oo eu een as Ue a ce RR eu ‘numerous chamber groups, solo and concerto appearances. Dea ee os Scholarships: Up to full tuition for undergraduates; full tution as well as assistantship opportunities for graduates. Faculty: Ron de Kant ..2 boauti portormanco of my concort." Aaron Copland one a ee eee te area Lote Society Cee Cn een ee Pes CCM 1s proup To Host THE 1992 I.C.S./C.I. CLARFEST tee EL see te Rt Rene ae eo You Are Invited To Become a Member of the NATIONAL ASSOCIATION OF COLLEGE WIND AND PERCUSSION INSTRUCTORS, Founded at the University of Michigan in 1951 NACWPI is an orgainzation dedicated to wind & percussion performance and pedagogy on the college/university level. Active membership: $25 Associate membership: $25 Student membership: $20 for further information contact: RICHARD WEERTS, EXECUTIVE SECRETARY-TREASURER NACWPI DIVISION OF FINE ARTS. NORTHEAST MISSOURI STATE UNIVERSITY KIRKSVILLE, MISSOURI 63501 ‘Tue CLariNer eee i er ie cette | | ied asan A’ and an F 1m_502 = 2nd note in the grace notes isa G# 1m,503, bal = f1F not sff: it should also Broadening. ..... through m.505,b2 1m.505,b.1 =" not 1.504 = in the score the note is writen a aH not At 1.508, b.3 = should be marked Rit. above staff, and the low F should be marked > and.not sf 1.508, b.1 = in the score the note is mares a@ not Fi also ABOUT THE WRITER... Charles Stier is a clarinet soloist who ha been a guest artist with the Chamber Mus Society of Lincoln Center and the Clevelan Sibelius Academy, Francisean, Helios an Recent high! ares, At of the Romantic Clarine and his book Clarine tion in an Elusive A tly in Silver Sprin University of Am Stier teaches both priva MD and at the 2, DC Catho in Washin President STANLEY PETRULIS. Indiana State University Terre Haute, Indiana 47809 Vice President-Secretary RANDALL E. FAUST Auburn University ‘Auburn, Alabama 36849 Past President CALVIN E. WEBER Indiana University of Pennsylvania Indiana, Pennsylvania 15705 ‘music of Brahms, Schumann, GadeTIAL ITY. RESTORING THE DREAM OF A QUALITY REED TO THE DISCRIMINATING MUSICIAN Prestini Reeds SINCE 1890 - FRENCH AND SPANISH CANE ONLY GUARANTEED - CARBIDE SMOOTH PROFILING LIKE MOST IMPORTED REEDS - FRENCH FILING ON CLARINET * "y" CUT ON SAX REEDS - HEAVY CENTER SPINE FOR LONG LASTING REEDS - ACCURATE GRADING OF EACH REED INDIVIDUALLY - AVAILABLE IN BOXES OF 2 REEDS (TWIN PAK) - 10 AND 25 REEDS CONTACT YOUR NEAREST DEALER OR CALL FOR FREE SAMPLES PRESTINI REED CORP. + P.O. BOX 2296 » NOGALES, AZ 85628 1-800-528-6569 February / March 1992 Pace 51 eee“Too Difficult For Benny Goodman”: The Original Version of the Copland Clarinet Concerto by Robert Adelson eee al Rinse i cn cecum ee ee ieee ieee eee ‘des es Sf or oe cette tea gan mare eee were tes eer a fa page eee See el ay career See eg el eel pe ise al cdTaineaey of a peegiiiisc Bene roe ara Eooeeee sacle ee eee AES tol Ti by oat eee cg Aen Co SE ono Ms Como for Cris Siring Crk oh Harpo! Plan) ths repeal ce ern Cone ec ee eee otra 6s inal CRE Ts Con 2s tances eg Wn eed an ees aera malig txee os BAeeee oe ee cae Rca errs peas eerie ed Fe bepress geared Saas isan ac borne SETS eaa oe sie. Ft Sl i the Msc oti og) ad naan ere poe ee ene Page 42 Goodman’s Commission Goodman commissioned a concerto from Copland at the beginning of 1947, just three weeks after entering into a sim- ilar arrangement with Paul Hindemith, ‘The terms of both commissions were iden- tical in retun for a fee of two thousand dollars, Goodman would have exclusive rights to perform the work for two years Copland said ofthe commission: “I never would have thought of composing a clar- inet concerto if Benny had not asked me for one." This statement, made almost 40 years later, is contradicted by the presence Of sketches for material found in both ‘movements of the Concerto as well as the cadenza, dating from as far back as 6 May 1945.* It appears that some of these sketches might have been intended for a work requested by Woody Herman. On 5 August 1946, record executive Goddard Lieberson wrote 10 Copland: “Woody wants piece. Something Copland, not ‘Woody Herman, for his band. Woody does not want any strings. He suggests @ con- tract along the exact lines of our deal with Stravinsky [referring t0 the Ebony Con- ‘erto of 1945].” Among Copland’ sketch- fs there is a page outlining the instrumen- tation for this work: “Solo CL-(alto sax), Rhythm — drums, piano, guitar, bass (xyl & vibraphone), Brass- 5 trmp.3 tmb, 5 Sax{ I tenor IL. tenor (Bass C.)2 Altos! bar, sax (flute)}, 5 el. {#L{7], 3 cl, bass 1.) Herman's offer came at about the same time that Copland was approached for a concerto for Goodman, which was ultimately a more appealing project to him. ‘Copland knew Goodman well prior to this commission, and was even present during his recording sessions for the Bartok Contrasts in 1940 On 5 February 1947 Goodman wrote 10 Copland: “I'm looking forward in great anticipation for the piece.” That summer Copland took two records of the Benny Goodman Sextet with him on his tour of South America, where he began work on the Concerto. Goodman recalled that be “made no demands on what Copland should write, He had completely free rein.” Using the material from the afore- mentioned. sketches, work proceeded THE CLARINET quickly on the first movement, after whic Copland reached an impasse: “I badly need ‘a fast theme for part 2. The usual thing. I ‘sed the ‘pas de deux’ theme for part 1, ancl I think it will make everyone weep.” ‘Continuation of work on the Concerto Was interrupted by an offer to write music FOF film adaptation of John Steinbeck’s: Te Red Pony. The Clarine: Concerto was com pleted on 21 October 1948, and sent to Goodman. (Goodman received a copy OF the manuseript full sco°e.) The technical difficulty of the work iS ‘evident from Goodman's response: "Many thanks for asking me ‘o play the concerto — 1 think with a little editing we should have a good performance.” At about th time, Copland sent Goodman a tape re= cording of the Concerto, in an arrangze= ‘ment fortwo pianos, in order o assist iiss in Ieaming the score.” Copland said that he “assumed that Benny would schedule a performance soon after the work was. fin= ished.” and tried to schedule a premiere performance for 10 May 1949, but re= ceived a letter from Goodman in which Goodman apologized for not being able to perform the Concerto: Besides all the problems of a bandleader, T have also had thi awful virus infection which is diffi- cult to shake off under present condi- tions ... I'm terribly disappointed about not being able fo perform the concerto May 10th but obviously with my present state of affairs I ‘would be silly to take on such an important job at this time, Iam very anxious to play the concerto in pub- lic and I will putin a lot of hard work: with Ingolf Dabl in L.A. and mean- while keep in touch with you, until we find the next opportune time to perform it... PS. Thanks for the tape recording — will be very helpful.” Eventually, it was determined that the! premiére would take place on 6 Novernbe | 1950, with Fritz Reiner conducting the} NBC Symphony of the Air, in a radic| broadcast. As a result of Goodman’ | delays, this premiére actually took pags fone month after the two-year period 6! exclusivity specified in the commissiop| Rehearsals were held with Copland play ing the orchestral parts in a piano arrange ‘ment, which was later published. Coplay recalled that at these rehearsals, Goodmayhad invited clarinetist David Oppenheim for moral support.” It was during these initial clarinet and piano rehearsals that Goodman requested certain changes to be made in the score. This history of the commission demon- strates that the intentions of Copland ean be clearly separated from those of Goodman, First, the Concerto was already in an em= bryonie state by the time of Goodman's offer. Second, it is clear that Copland did not consult with Goodiman during the com- position of the work, and that when Goodman finally did see it, it was in a fin- ished state — a Clarinet Concerto direct from the composer's musical imagination ‘The Original Version Thee me fot poreage in ts Concerta where Goodman requested changes from Copland — in each case for technical re. sens. They shall be discussed in onder of appearance in the Concerto. ‘The fist ctange, albeit a minor one, is in measures 112 (third beat) to 114, the phrase just prior to the cadenza [see Example’ I] Goodman recalled this alteration tera EXAMPLE 2 ay oo ing the clarinet passage from bar 112, 3rd beat." (This foomote does not appear in the Published clarinet and piano arrangement.) ‘The second change, more substantial than the first, occurs in the cadenza itself. ‘The measures shown in Example 2 were originally intended to continue scalewise up toa” and b" (notated for B* clarinet as b” and c#™), rather than make a reverse Copland recalled this el Benny made a few other sug; tions — one concemed a high note in the cadenza (I knew Benny could reach that high because had listened to his recordings). He explained that although he could comfortably reach that high when playing jazz for an tum toa g’ EXAMPLE 3 (CONTINUED ON NEXT PAGE) asses EXAMPLE 1 Caden 7 ea ea tc ne We never had much trouble except for a little fracas about the spot before the cadenza where he had written a repetition of some phrase. I was a little sticky about leaving it out — it was when the viola was the echo to give the clar- inet a cue. But I think Aaron finally did leave it out Goodman was reacting to a very real concem of clarinetists who perform this work: endurance, This final phrase, how ver, is present in all versions of the con- ‘certo, from sketch to final version. Only in the published full score did Copland agree to the following footnote: In order to allow the soloist some respite before beginning the caden- 2a, the Soloist may pause after bar 114 and the harp play the passage in small notes while the strings sustain the chord. A still longer respite may be provided by one solo viola play Av.) November/December 1995 Page 43EXAMPLE 3 (CONTINUED) ‘audience, he might not be able to if he had read it from a score or for a recording. Therefore we changed it.” ‘The sketch versions include the a’ and b”. In the Full score and 1¢ clarinet and piano arrangements (including the solo parts), ese original notes are still faintly visible beneath the darker revi- on. The published versions only show the altered version. ‘Once again, Goodman's concern was legitimate; these notes are the extreme upper limit of the clarinet’s range — one does not nd the same b” until Ginastera’s Variaciones Concertantes of 953. Of course itis not only this passage, but Copland’s Concerto a whole that is written with an uncomfortably high tessitura mhen played successfully, however, it conveys a brilliance unique the clarinet literature. A performance restoring these original gh notes to this passage — the climax of the entire cadenza — ould make the subsequent plummet to the lowest note of the clar: ot’s range all the more dramatic The third, and most radical change in the Concerto, is to be und in the coda (mm. 441 to 474). The sketch version reveals a + more virtuosic solo part than the final published version [see ample 3]. There is even a page of this original version on top of jich Copland wrote: “Ist version — later revised — of Coda of arinet Concerto (too difficult for Benny Goodman)"[see ample 4]." Here again, one detects the importance of this orig- I version to Copland in the sheer number of sketches devoted to - working out of the clarinet part in the coda." Even when revising this passage, Copland retained the busy high jes ofthe original clarinet part by assigning them to the right hand he orchestral piano (not to be confused with the piano of the clar- t and piano arrangement). As if to emphasize how important reg: ation was, he even added the indication 8va to much of it. Indeed, is one of the few passages of the Concerto whe | piano arrangement can be found insuffi e the clarinet nt, In this arrange- nl, the right hand of the piano must cover the violin figures. If ye 44 Tae C1 asian a a hI a ee ei | || |_| RINET cone chooses to perform the simplified revised version, then this P=™S sage — present in all sketches, drafts and early versions — is Tt (Obviously a reconstruction of the original version of the CO would entail an omission of the right-hand passage in the orches =a Piano, in order to avoid unnecessary doubling.) The superiority of the original version — despite its incredit>k technical demands — is apparent upon examination of the cont©2t of the coda, It is preceded by a powerful buildup in which the Chat inet is already in its extreme high register. This intensity is broke inthe revised version, when the clarinet is suddenly absent for C0 and a half measures before re-entering, inexplicably and qu anticlimactically in the chalumeau register. EXAMPLE 4 [i mosim te sett (aaoe pb bay leit) = FEA fo px 4 oe A od nae Capes. "ony pic Bey Ha, Be SO a ‘The fourth and final revision occurs five measures before the end of the Concerto [see Example 5]. In the original versiony ‘Copland intended measures 503 and 504 to read g#" and b" (notat. ed af and cH” for the Bb clarinet), respectively. Copland later recalled: “I had written the last page t0o high, so it had to come down a step.”” He was speaking informally, for no sketches of drafts show an entire final page that was originally a step higher. He was referring to these two notes of the solo clarinet part (on the last page, to be sure), which he revised down to e” and g#”." Here ig the final display of the extreme range of the altissimo register, unaccompanied, and at the dramatic close of the entire concerto,EXAMPLE 5 ees Reece te ee Conelus This article is not meant to show a lack of respect forthe genius of Benny Goodman. Obviously, Copland approved of his revisions and believed in their communicative power. All I want to indi is that performers are not obligated to perform this work as Benny ‘Goodman did — and few do, despite the remarkable legacy of the ‘wo recordings he made of the Concerto under the direction of the composer. The German clarinetist Jost Michaels tells the story of performing the Concerto with Copland conducting, in a Stuttgart concert that Goodman was originally to have played. Copland ‘vas apparently worried when he discovered that Michaels did not Play jazz Inthe end, although Michaels made no attempt to play ny of the jazz effects in the concerto, Copland was enthusiastic about his decidedly classical approach.” An unexpected parallel ean be drawn between the original ver- sions of the clarinet concertos of Mozart and Copland. When 20th- century musicologists discovered that Mozart's Concerto (as well ‘s other works he wrote forthe clarinet) was actually composed for the “basset clarinet” invented by Stadler and Lotz it became essen. tial to reconstruct the original version. Interestingly, this original version of the Mozart Concerto contains a previously unknown lower tesstura, while the original version of the Copland reveals a higher tesstura, Both the Mozart and the Copland have been tradi- tionally performed in altered versions because of technical limita- tions. For the Mozart, the limitations reside with the limited lower range of the standard modern clarinet. For the Copland, the limita tions are those of individual clarinetist 11s the hope ofthis author that the lessons leamed from study- ing the original version of the Copland Concerto willbe similar to those leamed with the Mozart. The anonymous arrangement of the Mozart Concerto for the standard A clarinet has been, and will con- {inue to be, performed persuasively. The original version restoring the basset notes, however, reveals in its lower tessitura the darker and more melancholy work actually conceived of by the composer Inthe case ofthe Copland, clarnetists ofthe present and future will ‘no doubt continue to perform the simplified version. The sole flaw ‘wth this version js that the solo part retains its uncomfortably high ‘essitura while at the same time eliminating the highest of these notes — the most difficult, but also the most brilliant and impres- cis a if someone were to advocate lowering by an octave the high F's from the Queen of the Night's famous aria from Die Zauberft. All that would be left would be a great aria that lies inexplicably high. The breathtakingly high top notes are the raison ‘'éire for the tessitura. Perhaps future editions of Copland’s Concerto work will clearly show (as do the Biienreiter and Schott ditions of the Mozart Concerto) these distinctions between the priginal version and the later simplification. ‘November/December 1995 The author wishes to thank the following individuals for heir assis tance with this project: Ellis Freedman (Aaron Copland Fund Carolyn Kalen (Boosey and Hawkes), Betty Auman and Lloyd Pinch ‘back (Library of Congress) and Vivian Perlis (Yale University) ABOUT THE WRITER... Clarinetist and musicologist Robert Adelson received both th B.M. and M.M. at Northwestem University where he studied with Robert Marcellus. He has been a member of the Colorado Sym: phony Orchestra in Denver and is an active performer on both mod em and early clarinets. He has appeared as a soloist with such ensembles as the Detroit Symphony Orchestra the Orchestre Ren- contres Musicales Internationales (France) and the Los Angeles Baroque Orchestra. He performs regularly on 18th-century clarinets with the Handel and Haydn Society Orchestra and Boston Baroxue. In 1993 Adelson was awarded a fellowship in musicology from the National Endowment for the Humanities to research the Be thoven string quartets at Harvard University, He also serves as pro- gram annotator for the SONY-Classical label. He has taught on the faculty of the Boston Conservatory and the Rencontres Musicales Internationales Festival in France. Currently he resides in Salt ike City, Utah, ENDNOTES uot arn Copan an ivi Peis Copan: since 943 New Yr: St. Marin’ 1989.93 of Congres Heer abrevinted LOC) ARCO 62.2 Conlin Pie 1677 4 LoCARCO m2 5. Copland Pei, 98 6. Govan to Cohn, Febrary 1947.00) 7 Quote in Coplnd Peis 94 8 Copland to Vicor Kraft 4 October 1947, Quin Copland Peis, $7 9. LOCARCO €2and 621 5 H Goodman to Copland, unde postcard (LOC) CCopland-Petis, 94. Ths tape i not to be Found in cher he Copland Colleton atthe Library of Congres cr the Benny Gocdman Archive a Yale Univer, snd is assumed 19 be lst, 12 Copland Pests 94 13, Goodman o Copland, 14 February 1949 (LOC) HA. Copland-Petis 93 |S. Copland Pris, 94 16, Fal score (New York: Boosey and Hawkes, 17. Copland-Peris, 93 18. ‘This page (LOC ARCO 62.232) belongs to the clarinet and piano version, fo itis in the same serge using I2stve paper — lke the rest of the version. Aft Gooden’ complain about his passage, Coplnd removed this pge. a well the following one, replacing them with the revised version — on diflecat 1 stave Paper. During the workng-out of his revised version, he also removed the come sponding poses frm he ull score replacing them with pages cena the com Pete orchestration, bt withthe slo clarinet ine and the ebe ee eof the Plano blank. Cleat, intended to ill ths in withthe revised version (Copies ‘ofthese partly Bank score pages ae include in the rafts ofthe Concerto 19. LOC ARCO 622 20. Copland eds, 93 21, Versions of this passage areas follows: 1. First sketch has 4 tb” (actu pitch). descent — though perhaps 8a was intended LOC ARCO 62 2/51). 2. ‘Small working-out with same save (leary intended as descent) [LOC ARCO (62.2185). 3. page from (incomplete) fll sore wth same notes a above. [LOC ARCO 62.2759] 4. Pencil solo part final page (LOC ARCO. 62.2) Uunpaginated last sheet) same notes as above. S.Fll sore [LOC ARCO 62] hac sams; but bs marked "8va.ad ih” 6, Cl. and Piano ar. [LOC ARCO 62 A] has above infant peel. This hasbeen changed 1 "up tos” (with lower octave ‘option in prerbescs), Solo paths fal version (e" tg"). 7. Oraid copy of shove [LOC ARCO 62-A.1] has only final version in score and slo part 22, Pamela Weston, Carne Vino of Today Mertonshre: Egon, 199), iii