TromboneChat

harrisonreed wrote: ↑Fri Oct 23, 2020 9:09 pm Can anyone check to see if Edition Tarrodi, Christian Lindberg's publishing company, is down? Every time I try I get redirected to a Japanese clothing store.

www.tarrodi.se

I even tried using a VPN to switch to Sweden, and it still sends me to this other website.

dexterwong7984 wrote: ↑Sat Jul 24, 2021 5:37 pm A late late reply lol
I am currently writing an essay on David’s concertino and taking reference from an article by Lindberg on Tarrodi. The interesting part is that I can get access to it on my mobile phone but as you said, it will be directed to a Japanese online fashion shop when I do it on my computer.

bcschipper wrote: ↑Sun Aug 22, 2021 1:23 am Where did Tarrodi claim "Cleveland" and "original orchestration burned"?

At http://www.tarrodi.se/cl/ruta.asp?show=15 I can only read

"The piece received its US premiere in 1923 by Cincinati Symphony Orchestra under Fritz Reiner, but since then the original orchestra material has been lost."

The first claim is false. It was played already in Brooklyn by F. Letsch in 1866 and later the same year by H. Braun in Chicago. This is shortly after it was published in Germany and still during David's life time. I don't know whether the Letsch performance was the US premiere.

I am particularly interested in the claim "original orchestration burned". Quite likely Alschausky might have brought a set from Leipzig when he joined the Cincinnati Symphony in 1923 and performed it with them the same year. And he might have taken it with him when he left in 1924.

Norman Pilgrim, a boy of 15 years at that time, performed the David Concertino with the Morton Symphony in 1924. He was a student of Kohlmann. Kohlmann arrived together with Alschausky at the Cincinnati Symphony (and according to the correspondence between Reiner and Alschausky was selected by Alschausky). Kohlmann moved up to Alschausky's chair when Alschausky left the Cincinnati Symphony. Anyway, for this performance of Pilgrim it was written in local newspapers at that time that there was a difficulty in procuring the music as it was damaged in a fire. So the burned David Concertino music may not be myth but they could have simply ordered a new set from Germany. But did this quasi-myth really inspire Lindberg to write a "reconstruction"? He could have ordered it from Germany as well.

Apart from unfortunately shrouding the real US history of the David Concertino, I find this quasi-myth fascinating. One should write an article about "The US History of the David Concertino".

harrisonreed wrote: ↑Sun Aug 22, 2021 1:44 am Lindberg haS said in recent interviews that he reorchestrated the material so that potential orchestras would actually want to perform the works. I'm guessing a lot of it also has to do with ensuring no one tries to get a cut as a publisher, even if works are in the PD.

HowardW wrote: ↑Sun Aug 22, 2021 7:30 am

harrisonreed wrote: ↑Sun Aug 22, 2021 1:44 am Lindberg haS said in recent interviews that he reorchestrated the material so that potential orchestras would actually want to perform the works. I'm guessing a lot of it also has to do with ensuring no one tries to get a cut as a publisher, even if works are in the PD.

Your second sentence is not quite right. Closer to the mark would be:

"I'm guessing a lot of it also has to do with ensuring that someone gets a cut as publisher, even if the work is in the PD."

H

harrisonreed wrote: ↑Sun Aug 22, 2021 9:41 am

HowardW wrote: ↑Sun Aug 22, 2021 7:30 am
Your second sentence is not quite right. Closer to the mark would be:

"I'm guessing a lot of it also has to do with ensuring that someone gets a cut as publisher, even if the work is in the PD."

H

Well, no. If you let the orchestra choose the edition that is really available, and it's 1980, someone else will get a cut of your recording royalties. We may have ready access to PD editions of the David today but the story was probably different in a time without the internet, where you would have to fly to some library just to be allowed to look at the plates or the original scores. This is STILL the case with the classical alto trombone concertos.

LeTromboniste wrote: ↑Sun Aug 22, 2021 10:28 am

harrisonreed wrote: ↑Sun Aug 22, 2021 9:41 am

Well, no. If you let the orchestra choose the edition that is really available, and it's 1980, someone else will get a cut of your recording royalties. We may have ready access to PD editions of the David today but the story was probably different in a time without the internet, where you would have to fly to some library just to be allowed to look at the plates or the original scores. This is STILL the case with the classical alto trombone concertos.

Except the edition that was available in the 80s (or at least available enough for others to access and use) was the public domain edition, not a modern edition with royalties on it.

No need to fly anywhere when you know what you're looking for. Scans exist now, and microfilms existed in the 80s.

harrisonreed wrote: ↑Sun Aug 22, 2021 10:37 am
I get that, and obviously it existed somewhere, but was it really readily accessible like that? Or was it a Kalmus edition with a big old copyright notice on it that was "public domain"? I've tried to get my hands on photocopies and microfilms of PD materials as late as 2017, and the libraries wanted me to sign a contract that said I wouldn't copy, publish, record, or arrange the public domain work they wanted to charge me to send a PDF of. I can't imagine what it was like in the 80s. I'm not an academic -- maybe they go easy on you if you have a pocket protector and "bona fide scholar" credentials.