Pierne – Impromptu Caprice

[Han Hsieh]

I’m lucky to have

[Saul Davis Zlatkovski]

Edition de salon has been mentioned elsewhere in these forums, I believe it is a simplified version for the salon, as it says. Salzedo edited the piece to make it more sonically effective and playable. What is amusing is that your post appeared next to musical terrorism, and having been practicing this piece, I think it is a perfect example of Musical Terrorism!

[Han Hsieh]

Musical Terrorism ………interesting way to describe this music.

[Saul Davis Zlatkovski]

You must either be playing it slowly, or you haven’t gotten to the next page yet!

[Han Hsieh]

Ah….I know what you mean. The first time I learned this piece was almost 20 years ago, and I was able to play it

[Alicia Griffiths]

Hello!

I’m looking for the “Edition de Salon” of the Impromptu-Caprice, because I’ve heard it’s as beautiful as the concert version but not as hard.
Any ideas on how I can get hold of it? Where is it published, if it is?

Thanks,

Alicia

[Bonnie Shaljean]

Alicia, the publishers of the Concert edition don’t mention any Salon edition in the catalogue pages of their website, so perhaps it’s out of print?

[carl-swanson]

Bonnie- Thank you so much for these notes on the piece. I’m going to print this out and make the changes to my copy. it is kind of interesting to me that, while French composers produced so much music that is in our standard repertoire, the published editions were not very harp-friendly and all need a lot of editing to make playable. They all require so much preliminary work to get ready: writing in pedals and fingerings, re-writing notes enharmonically, or re-distributing material from left to right hand or visa versa. I’ve mentioned it before here, but Faure’s Une Chatelaine en sa Tour… is the worst one I have found, and that was dedicated to a very gifted harpist! You’d think she could have helped with the preparation of the publication. That’s why I decided to publish a version of that piece, saving everyone else weeks of preparation work.

[Saul Davis Zlatkovski]

Those notes that sound wrong were corrected in the Salzedo edition. Thank you for the corrections; now I’ll have to re-learn the piece. It does sound better. I think, if it is extremely well-played, the tremolo effect in the opening does work as written; it points toward the bisbigliandos later on. I rather prefer the piece as written wherever possible. Pierne had a terrific ear. I believe this is the contest piece with which Salzedo won his premier prix in harp.

[Han Hsieh]

Bonnie, Thanks for the information. I’m very curious how are these corrections made. I’m not

[Han Hsieh]

For those who are

[Elizabeth Volpé Bligh]

Thanks so much, Bonnie! I went to my Lyra edition and put in bar numbers so that I could find all these errors.

[Saul Davis Zlatkovski]

Why are you calling it a Bolero? I never thought of it as one. I think that is the rhythm of the Chanson dans la nuit, though.

[Author]

Posts