Notes from the Editor
This new edition of Debussy's La Mer endeavors to rectify myriad issues the original publication (of the 1909 revised edition) and subsequent Nieweg revision suffer from. The following updates have been incorporated:
Extraction of both Trumpets 1 & 2 and Cornets 1 & 2 into separate parts. There are many reasons why this is preferable, including fewer overall pages of music and negating the necessity of the Trumpet 2 player having to constantly look above their staff for all dynamic information. Furthermore, it avoids confusion when some passages appear on only one staff system yet are marked “a 2” in the original.
Many music‑engraving details have been adapted to modern best‑practice techniques, including how quarter‑note triplets are shown, proper use of articulation marks, and the handling of both ties and slurs.
I have removed the “tacet jusqu’à” sections except when the rest of a movement is tacet.
I felt a complete revision of the cue system was necessary. Not only did I add cues showing other trumpet/cornet material, but I replaced many cues with more appropriate instruments.
Mute changes that were ambiguous in the original publications are now indicated efficiently and without question.
The Trumpet 1 and 2 parts that were written for trumpet in F are now shown for concert‑pitch trumpet in C. All notes are therefore shown with their proper enharmonic spelling. The original cornet parts were shown in C, yet with key signatures; I have removed these in favor of accidentals for consistency’s sake.
The Andrew Bishop Orchestral Editions explore the concept of how these orchestral masterworks would appear if they were composed today. There are myriad differences in how music is currently published compared to when many of these works were originally engraved. “Tradition” is usually the (poor) excuse I hear when the topic of updating these masterworks is discussed – most often in reference to transposition(s). As a performer and teacher, I remain committed to the practice of honing vigorous transposition skills. However, there are many of these original engravings set in keys that are truly antiquated, and make almost no sense whatsoever to keep perpetuating. Transposition, however, is the least of the issues most of these original editions suffer from. Paper is no longer a premium and scarce product, and therefore the practice of cramming as much material on a page is not necessary. “Readability” was obviously not a concern with copyists of the times, and it is my opinion that the music suffered because of it. Therefore, a ”Bish Edish” (as they are popularly referred to) features many upgrades, including:
- Judicious spacing throughout the engraving (not too cramped, not too open)
- Correct enharmonic spellings of notes. This is an unfortunate byproduct of writing in asinine transpositions.
- A careful reconsidering of cue usage.
- Corrections of many inconsistencies between original parts and score, and even between parts themselves.
- The addition of measure numbers, including helpful ranges listed under multi-measure rests.
- Deleting key signatures and writing all parts utilizing accidentals only.
- All parts are formatted for standard Concert 9x12 paper, and is best printed on that size.
Reading it on 8.5x11 is not ideal, but the compression percentage isn’t too significant. Similarly, reading it off a larger tablet (e.g. iPad Pro) doesn’t present any significant issues.
In some instances, there are other upgrades specific to individual works that will be mentioned within the respective product. If you happen to find something questionable that you would like to bring to my attention, please feel free to do so at: trptshallsound@gmail.com. If it is something that I need to correct, I will be happy to do so and make sure you receive a corrected part/parts. If you have other works that you would like to have a custom edition made, please also reach out with that as well.
Andrew Bishop, Editor
