has much to do with the original. The work is thus considered
still repeatedly performed the Concertino up to 1843. In 1832 the
lost and so it was a great surprise when in 2004 a complete set
Leipzig publisher Breitkopf & Härtel published the work under the
of orchestra parts of the first edition, including the principal part,
catalog number 5227. Only in about the 1940s was all trace of the
showed up. With this material, commendably made available by
Concertino lost sight of, performances no longer being verifiable.
the Leipzig trombonist Sebastian Krause, it was first possible to
Besides the somewhat later composed Concertino op. 4 by Ferdi-
reconstruct the original shape of the work.
nand David (1838), Müller’s contribution to this genre was consid
The premiere of the Concertino op. 5 can be dated to 1828. The
ered among the most demanding and often-played pieces in the
soloist was Queisser himself, the composer conducting. Queisser
trombone literature.
Editorial Note The present edition of the Concertino op. 5 für Bassposaune und
and apparent pitch errors can also frequently be identified. In
Orchester is, after the original edition of 1832, the first modern
most cases of ambiguities in phrasing and dynamics, a satisfac-
edition of this work. Unlike most others of Müller’s compositions,
tory solution could be found with the aid of extensive cue notes in
extant are regrettably no longer any manuscript sources for op. 5;
the solo part and by consulting the piano arrangement as referen-
therefore, for the present Urtext edition the still accessible printed
ce source. Insofar as they are not made known as editorial addi-
sources have been compiled:
tions by square brackets [ ], the solo part readings come from the first edition S. Other readings are taken from source S1. In several
A
First edition of the orchestra parts, appearing in 1832
in the Breitkopf & Härtel publishing house, Leipzig. Plate
number 5227
S
First edition of the solo part, ibid.
S1
New engraving of the solo part, reprinted in Robert Müller
Schule für Zugposaune, Leipzig, 1902
K
Manuscript piano arrangement with separately notated
corrigenda. Square brackets were used for performance markings
principal part, dated February 1938, Weimar. Produced
and dynamics, as well as broken lines for slurs and crescendo/
by G. Ludwig. (The piano arrangement mentioned in the
decrescendo hairpins.
preface is of no significance for this edition.)
Obvious pitch errors or missing accidentals were tacitly corrected
cases, there were present accidentals not adopted, although they
concern S1 as a revised and emended solo part. (Cf. especially measures 18 and 111. Specifically, the 16th-note chain in m. 111 ends on g1 in the sources S, S1 and K, although all the orchestra
parts in which the chord is stipulated, read gJ1.) As in all other
places the editor has clearly identified as such all addenda and
and/or added, likewise missing clefs. Earlier notations (for example, The orchestra parts of op. 5 already reveal upon simple review the usual errors of its time of print. Especially striking is the incon-
cres. instead of cresc., for. instead f ) were adapted to today’s usual modern forms.
sistent placement of articulation, phrasing, and dynamic mark-
June, 2012
ings, also for instruments playing in pairs. Suppresed 8th- and/or
Nick Pfefferkorn
16th-note flags, displaced or forgotten accidentals, missing clefs
translated by Margit L. McCorkle
Score PB 33001 available for sale Orchestra parts on hire