Hack editions...

Discussion in 'Music [DB]' started by Shlomobaruch, Feb 5, 2003.

  1. Shlomobaruch


    Dec 31, 2002
    Boise, ID
    Damnable editors anyway! First Slatford hacks Bottesini's Method to just the exercises with the reasoning that the scales, intervals, and arpeggio work could be obtained from other methods. But if he included them, we wouldn't *need* to get them from other methods, now would we? Then he transposes measures pretty much willy-nilly to make use of the E string. Together these changes render impossible any academic pursuit of how Bottesini approached bass playing. Yet this is the only version of any part of Bottesini's Method available to those who don't know how to order from Italian publishers (and even then, you need to know Italian to read the method you'll get). Then, there's this so-called "Complete Bottesini" three-volume set, also published by Yorke and edited by Slatford, which is anything but complete. Several key pieces of Bottesini's repertoire are missing, and there's other changes like removing the introduction from the "Introduction and Gavotte" again for no apparent reason. Then the coup de grace, I dig out Oscar Zimmerman's "Solos for the Double Bass Player" and start reading Bottesini's "Elegy" only to find whole sections of it transposed down an octave. Which doesn't entirely make sense, because it still requires solid thumb position playing either way, but simply avoids a handful of notes above the second octave G. Almost all of the notes in question are harmonics anyway, except for one descending B-A-G. Changing the register of almost half the piece seems like moronic mad butchering. The real thing isn't *that* much harder to warrant it. But what I really what to know is this - what are these people *thinking* when they engage in this reckless hacking? They obviously must find it justified, or they wouldn't do it. But why?

    Unfortunately neither of these worthy pieces are in the trio of Bottesini solos available on Quarrington's website, but even if they were, I'd have to get used to reading the parts at pitch. :confused: Why does everyone have to approach editing bass music with some damn *agenda*?! What's wrong with a simple version of the piece as it was written? Other instruments have something of the luxury of being able to sort the hack editions from the reliable ones, but too often we only have one edition available, and if it's a hack job we're just plain boned.
  2. dcardon


    Jan 31, 2002
    New York, NY