This set of Op. 3 keyboard sonatas are composed by Joseph Anton Steffan during his career in the household of Count Frantisek Slik in 1741-1775. There are three parts of these sonatas, but part III is apparently lost. The part II sonatas were published between 1763 and 1771 in Vienna. The title for this source is Parte seconda del’ Opera terza continente III Sonate per il Clavicembalo and was sold by Agostino Bernardi in Vienna.
The source is located in Bayerische Staatsbibliothek Musiksammlung in Munich (D-Mbs 2 Mus Pr. 2486). There are five exiting copies including the source; the other copies are located in Gesellschaft der Musikfreunde in Austria, Kloster Einsiedeln Musikbibliothek in Switzerland, Národní Muzeum in Czech, and a Collection by André Meyer in France.
Table of Contents
1. Adagio non molto e cantabile
2. Sonata No.1
3. Sonata No.2
4. Sonata No.3
Research Objectives and Themes
This work aims to provide a reliable, modernized critical edition of Joseph Anton Steffan's keyboard sonatas, specifically the set published as Op. 3/II, by reconciling historical source material with modern musical notation practices.
- The scholarly examination of the historical source material, including engraver identification and printing history.
- The editorial methodology applied to modernize notation, including clef changes, dynamics, and articulation adjustments.
- A movement-by-movement critical analysis detailing specific performance and editorial decisions for each sonata.
- The preservation of the composer's original intent while enhancing readability for contemporary performers.
Excerpt from the Book
Editorial Method
This edition attempts to reproduce a score in a clear and modern form. Editorial additions of articulations marks, dynamics, and accidentals without source support will be shown in brackets. Other significant editorial changes from the source not accounted below are listed in Critical Notes.
The following notations have been modernized: 1. The soprano clef from the source is replaced by the treble clef. 2. Dynamics have been modernized (e.g., f and p instead of for: and pia:) 3. The modern arpeggio sign replaces the obsolete diagonal slash. 4. Other notations such as rests, trills, and strokes. 5. Short passages of two, three, four or more bars enclosed in repeat sign with four dots in the source (some parts with letter R:, for petite reprise - a short repeat) are written out in full.
Slurs (articulations) in the source are carelessly and inconsistently placed. Slurs, which were placed unclearly over a phrase (e.g., in a phrase made from several groups of semiquavers, the slur is placed from the second semiquaver then not ends on the last semiquaver of the bar, such as the bar 8 and 19 in Adagio non molto e cantabile.) will be adjusted according to the phrase without mention in brackets. Added slurs for inconsistency are shown in brackets. However, in the source, there is a convention of differentiated slurs for the right hand and left hand. (e.g., the bar 58 in the Trio of Op.3/II No.3) These are generally considered to be played with same articulation for both hands but cannot disregard the possibility of playing them deliberately different (i.e., the left hand playing anything but slur).
Summary of Chapters
1. Adagio non molto e cantabile: This introductory chapter provides a musical prelude in C minor, detailing specific critical adjustments made to articulation and rhythm.
2. Sonata No.1: This chapter presents the score of the first sonata and outlines editorial interventions regarding dynamics, harmony, and voice leading.
3. Sonata No.2: This chapter covers the second sonata, focusing on the correction of rhythmic notation and the clarification of movement-specific signs like da Capo al Segno.
4. Sonata No.3: This chapter features the third sonata, addressing key signature changes and the normalization of triplets and grace notes.
Keywords
Joseph Anton Steffan, Keyboard Sonatas, Op. 3, Music Edition, Historical Performance, Critical Notes, Editorial Methodology, Musical Notation, 18th Century Music, Classical Period, Viennese Music, Performance Practice, Score Restoration.
Frequently Asked Questions
What is the primary focus of this publication?
This work is a modern critical edition of Joseph Anton Steffan's keyboard sonatas (Op. 3/II), focusing on presenting a readable, accurate score for performers.
What historical sources were used for this edition?
The edition is based on the Parte Seconda DEL'OPERA TERZA published in Vienna between 1763 and 1771, with the main source located at the Bayerische Staatsbibliothek in Munich.
What is the main goal of the editorial methodology?
The goal is to modernize the notation (e.g., changing clefs and dynamic markings) to make the works accessible to contemporary performers while documenting all editorial changes in critical notes.
How does the editor handle inconsistent articulation marks?
Inconsistent or unclear slurs from the source are adjusted according to phrase structure; additions made by the editor are enclosed in brackets.
What does the editorial team do about rhythmic discrepancies?
The editors identify printing mistakes by the historical engravers and provide corrections or, where ambiguity exists, maintain the original to allow for performer interpretation.
Which scientific methods are employed in this study?
The publication uses philological and musicological methods to compare existing copies, identify engravers, and standardize notation for a critical edition.
How is the "Adagio non molto e cantabile" treated in the notes?
The editorial notes specifically address the correction of inconsistently applied dotted notes and the replacement of obsolete notation with modern signs like the arpeggio symbol.
Why are some accidentals included in brackets and others not?
Editorial accidentals that modify the inflection of a note are bracketed, whereas unnecessary accidentals from the original source are silently removed.
- Citation du texte
- Deng Liang (Auteur), Lu Xiao (Éditeur), 2019, Joseph Anton Steffan. Piano Sonatas Op.3 / II, Munich, GRIN Verlag, https://www.grin.com/document/465405
