Engraving Stenhammars Interlude from Cantata The Song (Sången) - Final
Posted: 23 Mar 2023, 16:27
First of all, I would like to thank you a lot for all good suggestions for improving my engraving of Stenhammar’s Interlude (see previous posting viewtopic.php?t=940 ).
Eventually I came around to finalise and fine tune the engraving. For your information, I’ve attached the score to this posting.
I’ve tried to consider all your comments but in addition, the Musik- och Teaterbiblioteket / The Music and Theatre Library together with the Swedish Musical Heritage (https://www.levandemusikarv.se/about/?action=about) expressed a recommendation that I should, as much as possible, keep the engraving as Stenhammar noted it in his manuscript.
This means, I’ve kept a slight mixture between Stenhammar’s handwritten details and recommendation in e.g. Elaine Gould’s “Behind Bars”.
Example of this compromise you can find measure 35-36 where I put “meno” at the same vertical height as the hairpins. The same approach is used in measure 34-34 where I’ve put “rinforz” between the two hairpins and in measure 37 where I’ve put “molto” between the two hairpins.
As stated in my previous postings, the score and 32 instrument parts, of course, have been engraved in Lilypond. Lilypond is highly modular, so to keep it simple where simple maybe is a relative term, I’ve split the work into about 90 individual files (score plus the parts and music are 65 files, the rest is overall layout of score and parts, dynamics, definitions, rehearsal marks etc.) where common elements have been “outsourced” and reused where needed for the score and instrument parts.
You are, of course, welcome to provide further comments and suggestions but overall I think I’ve reached a state where it can be published, i.e. sent to the Swedish Musical Heritage for further processing.
Eventually I came around to finalise and fine tune the engraving. For your information, I’ve attached the score to this posting.
I’ve tried to consider all your comments but in addition, the Musik- och Teaterbiblioteket / The Music and Theatre Library together with the Swedish Musical Heritage (https://www.levandemusikarv.se/about/?action=about) expressed a recommendation that I should, as much as possible, keep the engraving as Stenhammar noted it in his manuscript.
This means, I’ve kept a slight mixture between Stenhammar’s handwritten details and recommendation in e.g. Elaine Gould’s “Behind Bars”.
Example of this compromise you can find measure 35-36 where I put “meno” at the same vertical height as the hairpins. The same approach is used in measure 34-34 where I’ve put “rinforz” between the two hairpins and in measure 37 where I’ve put “molto” between the two hairpins.
As stated in my previous postings, the score and 32 instrument parts, of course, have been engraved in Lilypond. Lilypond is highly modular, so to keep it simple where simple maybe is a relative term, I’ve split the work into about 90 individual files (score plus the parts and music are 65 files, the rest is overall layout of score and parts, dynamics, definitions, rehearsal marks etc.) where common elements have been “outsourced” and reused where needed for the score and instrument parts.
You are, of course, welcome to provide further comments and suggestions but overall I think I’ve reached a state where it can be published, i.e. sent to the Swedish Musical Heritage for further processing.