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Cavallini: Adagio e Tarantella

Comparing the following editions:

Publisher
Publication
Year
Editor
Full or shortened?
Score solo line:
transposed or concert pitch?
2016
Rosario Mazzeo
full
transposed
1972
Ben Armato
shortened
transposed
?
Sergio Bosi,
Michele Magnani
full
transposed
1945, r. 1973
George Waln
shortened
transposed
?
Alamiro Giampieri
full
tranposed
Silvertrust 2016 ? full transposed
2002
David Hite
full
transposed


Additional arrangements:

Publisher
Publication Year
Arranger / Transcriber
Full or shortened?
Instrumentation
2004
Thomas Reed
full
clarinet & wind ensemble
Eufonia ? Sandro Tognatti full clarinet & clarinet choir
Molenaar 1995 Jaroc full clarinet & wind ensemble


Appearance
The Eufonia and Southern editions are digitally engraved.  The Kjos, Ricordi, Silvertrust, and both Carl Fischer editions are traditionally engraved by hand; all are perfectly readable except for the Carl Fischer (CU526) edition, which suffers from beam and text bleeding.  The Silvertrust is a direct copy of the Carl Fischer (CU526) edition, but also has some grainy over-exposure particles (and some different editing). 

Only the Southern edition has proper page turns for both the clarinet and piano parts (the clarinet part's page 5-to-6 turn may still prove tricky, considering that there are no rests).  The Ricordi, Silvertrust, both Carl Fischers, and Eufonia editions all have one unacceptable page turn in the clarinet part, and the Kjos edition has two (out of two total!).  Interestingly enough, only Eufonia's arrangement for clarinet choir provides a solo clarinet part with perfect page turns.

Editing
Because this work is extremely popular for use in young musician competitions, a few publishers have created shortened versions which contain three omissions: (1) the 17-bar virtuosic introduction, (2) the first winding line of the cadenza (replaced with a simple descending sextuplet), and (3) the 43-bar sensible section (mm. 129-171) in the middle of the Tarantella; see the chart above to determine which editions are full or shortened.  These removals trim the duration by about one minute to a total 5.5 minutes.

The Kjos and Carl Fischer (O4862) editions contain plentiful editing to accommodate the work for less experienced clarinettists. The Kjos edition removes some ornaments, adds fermatas and breath marks, cuts the descending thirty-second note diminished chords in mm. 104 & 108 (mm. 121 and 125 in full version), and even gives the piano part the clarinet's melody for a few tricky bars (see the product page for a full list of changes). Ben Armato's changes in the Carl Fischer edition are similar, and only slightly less aggressive.

Unfortunately there is no transparency in the editing of any of the editions.  In his article, "Le Musiche Per Clarinetto Di Ernesto Cavallini e La Loro Diffusione In Italia Durante L'ottocento," Adriano Amore indicates that the first edition's metronome markings are Maestoso=200, Adagio cantabile=116, and Tarantella=160.  These have been changed or omitted from all editions except Carl Fischer (CU526), which was originally edited by Rosario Mazzeo and published by Cundy-Bettoney (1938).  Clarinettists should be particularly careful about the Adagio melody's tempo, as some editions mark a drastic reduction to less than half speed compared to the first edition.

There are also articulation and expression marking differences between all editions.  For example, in mm. 14–16, Carl Fischer (CU526)/Ricordi/Eufonia mark un poco rall., whereas Southern marks un poco più mosso.  A comparison of measure 98 shows how widely varied the editing can be, with three different dynamics and three different articulation indications:
Cavallini Adagio e Tarantella measure 98 comparison
Most notably, the Ricordi edition unabashedly instructs to slur the large leap to written altissimo D♭6, where the other editions indicate other articulations.

In the full version: starting at m. 129's transition to the key of F major, the clarinet holds a pedal G for 10 measures.  In the Southern edition, the clarinet cuts out to rest after the first four measures.

While most editions end the piece on a written throat-tone G4, others instruct to ascend to an altissimo G6 (or clarion G5).  Only in the Kjos and Southern editions does the editor signal the availability of choice in this instance with an ossia marking.

Although the Silvertrust edition is a nearly-direct copy of the Carl Fischer (CU526), the Silvertrust lacks the clarinet's turn notation marking on the F3 in m. 29 that is present in the Carl Fischer.

Additional Arrangements
The Molenaar edition adds one measure of femata silence after the clarinet's cadenza, before the Allegro tutti which ushers in the Tarantella.  It also alters the ending: the ensemble is tacet during the clarinet's last three measures, and immediately follows with a two measure tag of fortissimo chords, imbuing the end with an appropriate punch.

Summing Up
Considering the full versions overall, the Southern and Ricordi have the most editing, Eufonia has less, and the Carl Fischer (CU526)/Silvertrust editions have the least.  Although difficult to read, the Carl Fischer (CU526)/Silvertrust editions offer important reference value by their adherence to the first edition.  As long as they are aware of the edits and cuts, clarinettists looking for a bargain may consider Armato's version (which comes as a set with seven other classic works).