As to Schnabel, he violates his own edition frequently. His Diabellis are a
particularly fine example of this divergence.
----- Original Message -----
From: "Karl Miller" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, March 31, 2006 9:09 AM
Subject: Re: [ARSCLIST] The waltz (was Which U.S. orchestra recorded first
and Arthur Fiedler)
> On Thu, 30 Mar 2006, Bob Olhsson wrote:
>> In fact it is the ONLY defining document possible other than maybe a
> And hence the origin of the mechanical license!
>> All the rest is oral tradition. We were taught by my elementary school
> violin teacher that musical notation is strictly a menomic device.
> I believe that is far more true with both jazz and popular music. I am
> reminded of all of the jazz musicians who learnt music by imitating what
> they heard on records...and, these days, from my perspective, much of the
> development of rock music is an aural tradition.
> I am reminded of Schnabel's heavily edited published versions of scores of
> the Beethoven Sonatas...and his recordings. One is left with little
> imagination as to what his intentions were with those works...even if his
> playing was a bit less than perfect from time to time...but then, he
> didn't have the same editing capabilities Gould had for his recordings.
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