Perhaps of interest to a number of us, here’s a gift link for those without NY Times access.
But a manuscript, music written in a composer’s hand, has the almost magical power to make even the most distant giants feel near and alive. You can learn about the personalities of, say, Beethoven or Brahms through their penmanship. You can track their doubts and changes of heart. You can argue, with yourself and others, about what was meant by something as small as a dot.
Is that the copy that Gilbert Kaplin had? I sang in a performance under his baton in the 90s. He requested more of my countertenor Top F, which was a first.
Ha.
Jesper
@benwiggy It belonged to a chap named Kloiber.
I am a long term subscriber to New York Times but I am sorry to say that I was surprised that article had very little actual useful or interesting content, apart from the fact of the existence of this MS and some blue pencil corrections. Unusual for this newspaper - a little bit strange.
I saw the Times article (and wasn’t surprised at the content). I took an afternoon to study a facsimile of that MS at the Lincoln Center Library once in the ’90s. What a joy to have such resources.
Perhaps the big blue line influenced Otto Klemperer to render the ending of that scherzo with a pregnant pause before the last note.
I saw Gilbert Kaplan do the piece with the Eastman Philharmonia at Carnegie Hall, also in the ’90s, when some friends were still in the orchestra. After the great denouement, as an encore they replayed the final section of the 2nd movement. A lovely touch, and interesting perspective.
And all by hand. Hurts just thinking about it!
