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Triangle articulation symbol in Rossini score

In the Rossini Petite Messe Solennelle, Brauner and Gossett edition, there is an articulation mark above notes (both in vocal and piano parts) that is an empty triangle.  In earlier editions these were rendered simply as carets ^ or accents.  Does anyone know what this empty triangle means?
Thanks,
Bob
Replies (4): Threaded | Chronological
on November 25, 2013 7:24am
Re strange articulation mark in Rossini's Petitte Messe solennelle:
 
I've only ever used the Klaus Doege edition published by Carus, so I can't answer authoritatively, but have you checked the kritische Berichte for the Brauner/Gossett?
 
Ah, I just had a look at the Zedda Barbiere (Ricordi), whose introduction states that the edition preserves Rossini's characteristic closed-triangle indications for crescendi/diminuendi and for accents. I assume if the Petitte Messe is Gossett it's Ricordi and therefore part of the same complete edition, so it should follow the same general editorial rules.
 
Best regards,
Jerome Hoberman
 
Music Director/Conductor, The Hong Kong Bach Choir & Orchestra
on November 26, 2013 8:35am
Thank you for your thoughts but the Gossett/Brauner is based upon the original performance materials as a chamber music performance, two pianos and harmonium.  Ricordi, Carus, Kalmus etc are based upon the orchestrated version which has significant changes from what Rossini preferred and they do not have the triangle cut the caret.
 
Bob
on November 26, 2013 5:35pm
I don't know about Ricordi and Kalmus (or "etc"), but Carus is a critical edition based on the autograph for 2 pianos and harmonium, with the first edition and another manuscript held in the Brussels Royal Conservatory's library -- different from the second manuscript that Gossett used but apparently similar to it -- as references for comparison. It does use modern standard orthography rather than seeking to reproduce Rossini's personal idiosyncrasies, so there are no triangles, which helps makes it easy to read (easier, IMO, than the Ricordi critical edition of Barbiere -- the edition for which Gossett is general editor; I haven't seen the Gossett/Baerenreiter edition of the Petite Messe, which hadn't yet been published when I first conducted the Rossini, but I assume that Gossett would preserve its editorial rules). Also, I gather that Gossett/Baerenreiter publishes two versions side-by-side -- you pick one or the other -- while Doege/Carus offers a single reading, one that does, however, include the final versions of heavily modified passages such as the opening of the Cum Sancto Spiritu. But lumping Carus with Ricordi and Kalmus as being based on the orchestral version (which can't have "significant changes from what Rossini preferred," since Rossini himself did the orchestration, though he didn't supervise the first published edition that does replace the two pianos with a reduction for one) is simply an error. I do find it interesting that Gossett, in his 2004 essay on the work, avoids mentioning Doege entirely, though he cites Angelo Coan's and Nancy Fleming's earlier critical editions in order to challenge them.
 
Best regards,
Jerome Hoberman
 
Music Director/Conductor, The Hong Kong Bach Choir & Orchestra
on November 27, 2013 6:05am
Hi,
You may be correct about Carus, I have not seen it although I thought a recording I have of a local group performing was using Carus.  However, the seemingly small changes are, I believe, significant to an overall understanding of the work.  The modifications he made, apparently relluctantly, for the orchestration detract from the Chamber Music quality and much more intimate and at times whimsical attitude that I hear in the work.  I do not pretend to be a musicologist but I do find the work very intriguing and quite eclectic in style and approach.  My personal preference is that is it far from an "operatic mass" as it is sometimes promoted but a delightful chamber music piece, at times a little solemn.  In any case, all this has not answered my curiosity as to what Rossini intended by the triangles.  I think I understand them musically and am able to make musical sense of them but was curious as to their origin and original intent.
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