Dear Thomas and List,

Before I learned Mozart's Fantasia K. 608, I compared Martin Haselboeck's 
Universal Edition (Mozart, Works for Organ, Vol. I. Vienna, 1980), 
Christoph Albrecht's Edition at Baerenreiter from 1998, and Marcel Dupré's 
edition of K. 608, published in 1942 by Bornemann in Paris, France (now 
part of Editions Leduc). 
In my opinion, Dupré found the most convincing solutions in arranging this 
composition for organ. My suggestion: 
Create a tasteful concept for the registrations and tempi, and put, if 
needed, some more elegant fingerings and pedalings other than Dupré's into 
the score, and go for it! It is sheer joy to perform this piece!

Best,
Martin Welzel, DMA
www.organpianoduo.de


On Fri, 24 Mar 2006 02:13:44 -0500, Thomas Dressler <[log in to unmask]> 
wrote:

>It would be very interesting if someone who knows details about the
>arrangments of Mozart's clock pieces for organ could tell us about the
>different editions that exist.
>
>Recently my local AGO chapter asked me to play the K608 Fantasy in a 
Mozart
>concert this fall. A fun challenge, I thought, as I have not learned it 
yet.
>I went up into the attic and dug through boxes until I found the old copy 
of
>it I bought as a teenager--the Kalmus edition. (It's marked $1.00!!) I
>started to work on it, but there were places I wondered about a little 
bit.
>I had not studied the piece with any of my teachers, and consequently had
>never discussed editions with them. I asked around and someone mentioned 
the
>Baerenreiter edition as very reliable. Ok, I got my hands on a copy, but I
>would say it has opened up more questions for me than it has answered.
>
>Observations I can make about the two editions are that the Kalmus seems 
to
>have more notes, more places where you play in octaves, more intricate 
inner
>voice stuff, so I am tempted to believe it is more faithful. The
>Baerenreiter seems simplified in spots, but yet in spots it assigns more
>difficult passages to the pedals. The odd thing is that while the Kalmus 
is
>in general more complex, I actually find it easier to play because to me 
it
>seems to make more musical sense in spots, even though it is more complex.
>There are places in Baerenreiter where the voices are placed in different
>octaves, perhaps to put it under your fingers better?? and yet it seems to
>make less sense to me musically. On the other hand, the Kalmus seems to 
have
>obviously misplaced phrase markings; the performance indications in
>Baerenreiter appear more consistent with what I've experienced playing the
>piano sonatas from Urtext.
>
>Does anyone know about making decisions on these issues, and/or the 
general
>histories or editorial policies of various editions? I'm tempted to put 
one
>of these editions into Sibelius and make my own changes, but I don't have
>anything to base decisions upon. How have others dealt with these issues?
>
>Thomas Dressler

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