Difference between revisions of "Talk:Andliga sånger (Spiritual songs) (August Söderman)"

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(Created page with "My edition is based mainly on mr. Aglert´s edition, but har also been checked against the Carus Verlag (www.carus-verlag.com Stuttgart, Germany) edition from the year 200...")
 
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01 Kyrie:
 
01 Kyrie:
Bar 15
+
 
The are a number of interpretations in different editions, concerning the divisi parts in the soprano and alto voices.  In this case I have decided to follow the edition from the Swedish Choral Society (can be obtained from the publishing house Gehrmans Musikförlag www.gehrmans.se/en ), which shows no divisi in the alto voice.
+
Bar 15: The are a number of interpretations in different editions, concerning the divisi parts in the soprano and alto voices.  In this case I have decided to follow the edition from the Swedish Choral Society (can be obtained from the publishing house Gehrmans Musikförlag www.gehrmans.se/en ), which shows no divisi in the alto voice.
Bar 20
+
 
basso: the third note should be a D, not an E flat.
+
Bar 20: basso: the third note should be a D, not an E flat.
Bar 30
+
 
alto 1: there should be a slur between first E flat note and the second F note, and a tie between the the second and the third note (or a dotted quarter note).
+
Bar 30: alto 1: there should be a slur between first E flat note and the second F note, and a tie between the the second and the third note (or a dotted quarter note).
 
alto 2: the three first C notes are all tied together (total duration 7/8).
 
alto 2: the three first C notes are all tied together (total duration 7/8).
 
tenore: the second and the third and the F notes should be tied together (or a dotted quarter note).
 
tenore: the second and the third and the F notes should be tied together (or a dotted quarter note).
 
basso: the second and the third and the A notes should be tied together (or a dotted quarter note).
 
basso: the second and the third and the A notes should be tied together (or a dotted quarter note).
  
02 Agnus Dei:  
+
 
 +
02 Agnus Dei:
 +
 
General: The word “agnus” should be divided “a-gnus”, not “ag-nus”
 
General: The word “agnus” should be divided “a-gnus”, not “ag-nus”
 +
  
 
03 Jesu Christe:
 
03 Jesu Christe:
 +
 
Pickup bar: alto: missing p dynamics
 
Pickup bar: alto: missing p dynamics
Bar 9 -10:
+
 
tenore: the last note in bar 9 is erraneously connected to the first note in bar 10. The phrasing should be “de – vo - o - o – ta”
+
Bar 9 - 10: tenore: the last note in bar 9 is erraneously connected to the first note in bar 10. The phrasing should be “de – vo - o - o – ta”
 +
 
 
Bar 36: Should be a whole note
 
Bar 36: Should be a whole note
 +
  
 
04 Domine:
 
04 Domine:
 +
 
General: The word “benedictus” should be divided “be-ne-di-ctus”, not “be-ne-dic-tus”.
 
General: The word “benedictus” should be divided “be-ne-di-ctus”, not “be-ne-dic-tus”.
Bar 11
+
 
soprano: The Carus edition shows a divisi for the two last notes ( A – F sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
+
Bar 11: soprano: The Carus edition shows a divisi for the two last notes ( A – F sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
Bar 20:
+
 
tenore: the Carus edition shows a divisi (F sharp – C sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
+
Bar 20: tenore: the Carus edition shows a divisi (F sharp – C sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
 
Basso: the Carus edition shows no divisi for the two last notes (A), although other editions (including mr. Aglert´s edition) has a divisi C sharp – A.
 
Basso: the Carus edition shows no divisi for the two last notes (A), although other editions (including mr. Aglert´s edition) has a divisi C sharp – A.
  
 
I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.
 
I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.
 +
  
 
05 Benedictus:
 
05 Benedictus:
Bar 1
+
 
soprano: The Carus edition shows a divisi for the two notes ( B – G sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
+
Bar 1: soprano: The Carus edition shows a divisi for the two notes ( B – G sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
Bar 5
+
 
tenore: The Carus edition shows a divisi for the two notes ( G sharp – E) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
+
Bar 5: tenore: The Carus edition shows a divisi for the two notes ( G sharp – E) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.
  
 
I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.
 
I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.
 +
  
 
06 Virgo Gloriosa:
 
06 Virgo Gloriosa:
 +
 
General: The word “Tristibus” should be divided “Tri-sti-bus”
 
General: The word “Tristibus” should be divided “Tri-sti-bus”
 
The word “Sancta” should be divided “San-cta”
 
The word “Sancta” should be divided “San-cta”
 
The word “benigna” should be divided “be-ni-gna”
 
The word “benigna” should be divided “be-ni-gna”
 +
  
 
07 Osanna:
 
07 Osanna:
Pickup bar:  
+
 
all voices: mf dynamics on the first note
+
Pickup bar: all voices: mf dynamics on the first note
Bar 1:
+
 
soprano: the second and the third notes are erraneously connected with a tie
+
Bar 1: soprano: the second and the third notes are erraneously connected with a tie
Bar 19
+
 
alto:
+
Bar 19: alto:
 
There should be a tie between the last note in bar 19 and the first note in bar 20  
 
There should be a tie between the last note in bar 19 and the first note in bar 20  
Bar 28:  
+
 
soprano:
+
Bar 28: soprano: There should be a tie between the last note in bar 28 and the first note in bar 29
There should be a tie between the last note in bar 28 and the first note in bar 29
+
 
Bar 39:
+
Bar 39: soprano
soprano
 
 
There should be a tie between the last note in bar 39 and the first note in bar 40
 
There should be a tie between the last note in bar 39 and the first note in bar 40
Bar 40:  
+
 
soprano:
+
Bar 40: soprano:
 
There should be a tie between the first and the second note (or a dotted quarter note)
 
There should be a tie between the first and the second note (or a dotted quarter note)
 
There should be a tie between the fourth and the fifth note (or a dotted quarter note)
 
There should be a tie between the fourth and the fifth note (or a dotted quarter note)
 
alto:
 
alto:
 
There should be a tie between the fourth and the fifth note (or a quarter note)
 
There should be a tie between the fourth and the fifth note (or a quarter note)
Bar 41:
+
 
There should be a tie between the fourth and the fifth note (or a dotted quarter note)
+
Bar 41: There should be a tie between the fourth and the fifth note (or a dotted quarter note)
  
  

Revision as of 19:13, 18 March 2016

My edition is based mainly on mr. Aglert´s edition, but har also been checked against the Carus Verlag (www.carus-verlag.com Stuttgart, Germany) edition from the year 2000, edited by the swedish composer Eskil Hemberg (1938 - 2004). This is, in my opinion, the most accurate modern edition of the piece (the Carus edition is said to be based on the first printed edition (erstdruck) in Stockholm 1872). Some minor errors has been corrected with respect to the Carus edition. The graphical layout has been somewhat adjusted in order to achieve a better readability for the singer:

1st & 2nd voices have been completely separated in the divisi parts use of ties has been reduced, in favour of dotted notation double sharps have been replaced with (enharmonic) natural accidentals continous bar numbering used


Differences and errors in the Aglert edition, when compared to to the Carus edition:

01 Kyrie:

Bar 15: The are a number of interpretations in different editions, concerning the divisi parts in the soprano and alto voices. In this case I have decided to follow the edition from the Swedish Choral Society (can be obtained from the publishing house Gehrmans Musikförlag www.gehrmans.se/en ), which shows no divisi in the alto voice.

Bar 20: basso: the third note should be a D, not an E flat.

Bar 30: alto 1: there should be a slur between first E flat note and the second F note, and a tie between the the second and the third note (or a dotted quarter note). alto 2: the three first C notes are all tied together (total duration 7/8). tenore: the second and the third and the F notes should be tied together (or a dotted quarter note). basso: the second and the third and the A notes should be tied together (or a dotted quarter note).


02 Agnus Dei:

General: The word “agnus” should be divided “a-gnus”, not “ag-nus”


03 Jesu Christe:

Pickup bar: alto: missing p dynamics

Bar 9 - 10: tenore: the last note in bar 9 is erraneously connected to the first note in bar 10. The phrasing should be “de – vo - o - o – ta”

Bar 36: Should be a whole note


04 Domine:

General: The word “benedictus” should be divided “be-ne-di-ctus”, not “be-ne-dic-tus”.

Bar 11: soprano: The Carus edition shows a divisi for the two last notes ( A – F sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.

Bar 20: tenore: the Carus edition shows a divisi (F sharp – C sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions. Basso: the Carus edition shows no divisi for the two last notes (A), although other editions (including mr. Aglert´s edition) has a divisi C sharp – A.

I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.


05 Benedictus:

Bar 1: soprano: The Carus edition shows a divisi for the two notes ( B – G sharp) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.

Bar 5: tenore: The Carus edition shows a divisi for the two notes ( G sharp – E) which is not present, neither in mr. Aglert´s edition nor in other Swedish editions.

I have left the score as-is in mr. Aglert´s edition. The performer has to decide for him/herself whether to use this divisi arrangement or not.


06 Virgo Gloriosa:

General: The word “Tristibus” should be divided “Tri-sti-bus” The word “Sancta” should be divided “San-cta” The word “benigna” should be divided “be-ni-gna”


07 Osanna:

Pickup bar: all voices: mf dynamics on the first note

Bar 1: soprano: the second and the third notes are erraneously connected with a tie

Bar 19: alto: There should be a tie between the last note in bar 19 and the first note in bar 20

Bar 28: soprano: There should be a tie between the last note in bar 28 and the first note in bar 29

Bar 39: soprano There should be a tie between the last note in bar 39 and the first note in bar 40

Bar 40: soprano: There should be a tie between the first and the second note (or a dotted quarter note) There should be a tie between the fourth and the fifth note (or a dotted quarter note) alto: There should be a tie between the fourth and the fifth note (or a quarter note)

Bar 41: There should be a tie between the fourth and the fifth note (or a dotted quarter note)



The mp3 rendering was made with Finale2011, EastWest Symphonic Choirs and Garritan Classic Pipe Organs. The soprano solo voice was omitted in the Kyrie movement, an replaced with a boys soprano chorus in the Virgo Gloriosa movement.

MWE (talk) 17:36, 16 April 2013 (UTC)