Kopprasch Project “The Final Five” No. 59

We are approaching the end of our Kopprasch journey – for now, at least. Number 59 is a melodic study (with variation) which emphasizes the middle and upper register. Try to execute the turns as gracefully (and accurately) as possible, without sounding rushed. Although no articulation markings are indicated, the dolce marking at the beginning would suggest legato. However, I think the rapid passages in the variation benefit from a more pointed – though not quite staccato – approach. The ascending scale in 64th notes 10 measures from the end is a great place to use double-tonguing (depending on the tempo). My edition includes a tempo range of eighth-note = 76-84, and I tended towards the lower end of that spectrum. Choose a tempo which seems musically appropriate to you, but don’t let it get out of control!

A final area to examine in No. 59 is the placement of dynamic markings. For example, there is a discrepancy between editions as to where the forte marking occurs in mm. 4-5. In my edition, and in the Breitkopf and Härtel edition (imslp link here), the forte is placed directly on the downbeat of measure 5 (on the written  a”). Whether this was the composer’s intention or an engraving error is unknown to me, and it is worth noting that the Oscar Franz edition (imslp link here) moves the forte to the last 16th note in measure 4. *The etude is listed as No. 47 in the Franz edition. A similar situation occurs in mm. 8-9, but with a piano marking instead. My edition by Cornopub as well as the Franz edition are consistent in their placement, and follow the example set in mm. 4-5. The Breitkopf edition, however, is not consistent. My suggestion is to try it both ways, and choose the one that makes the most musical sense to you.


New Kopprasch Edition by Cornopub

Way back in my post on Kopprasch No. 3, I mentioned that there was a new single-volume edition of all 60 Op. 6 studies, edited by Corbin Wagner, third horn in the Detroit Symphony and the proprietor of CornoPub (the cover is pictured at left).  Well, I finally got around to ordering my copy of this new edition, and so far I’m very impressed. The engraving is clean and easy to read, and all the page turns have been eliminated.   Mr. Wagner kindly granted me permission to show Etude No. 1, which you can see below (click on the image to enlarge).

At this late stage in recording Book 1 – and for consistency’s sake – I probably won’t switch over to the new edition from my Chambers copy, but I will be comparing them to see if there are any errors, discrepancies, etc.  One very nice feature of the CornoPub edition is suggested tempo markings, as well as several helpful suggestions from Mr. Wagner in the preface.  In his introductory remarks he states the following.

All the etudes have been cleaned up and spread out to help you read it easier. Some of the exercises have changes from the original like articulations, time signatures, ornaments, and clefs. These changes have been made so the exercises read better and play through with consistency.

There are also several helpful additions at the end, including exercises and tips for lip trills and multiple tonguing, stopped horn fingerings, a transposition chart, and all major/minor scales with arpeggios.  The spiral binding lays nice and flat on a music stand as well.  All in all, this is a great product, and I congratulate Mr. Wagner on his fine publication. The price is very reasonable, and I have already recommended it to several of my students.

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