The biggest scandal in music publishing

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Re: The biggest scandal in music publishing

Post by Harpsichordmaker »

John Ruggero wrote: 19 Jun 2021, 19:41 If you think that the fingering would differ so extensively for harpsichord and piano, I would vote for three versions, then, one unfingered, one prepared by an expert harpsichordist and one by an expert pianist, musicians who have performed the sonatas extensively.
As for the different fingerings, they are in part due to the obviously different action and keyboard feelings in piano and in harpsichord. Equally important, if not more, is for articulation and phrasing. For example, I attach here the first page of K1 as fingered by a renown harpsichordist and writer, Claudio DiVeroli. My own fingering is still different in many spots.

So, I think your idea of preparing three different versions - unfingered, with piano fingering and harpsichord fingering, is a very sensible one (though I am still sure most harpsichordists would choose the unfingered version).
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John Ruggero
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Re: The biggest scandal in music publishing

Post by John Ruggero »

Thanks so much, Harpsichordmaker. I was hoping for some harpsichordist input. Yes, that is. wildly different fingering from what would work on the piano!

I have supplied a version without fingering at the end of viewtopic.php?f=12&t=915
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Re: The biggest scandal in music publishing

Post by Schonbergian »

Generally I find most piano fingerings for Baroque music to be over-fussy, but the simplified fingerings that one can use on the harpsichord and organ are not always practicable because the modern piano takes longer to speak and variety in articulation is more easily expressed through force rather than length of notes. If one gets "out of the keys" as much as on other instruments, the piano sounds horribly clipped and unmusical.
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