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ERRATA LIST FOR THE SORCERER
(Piano/Vocal Score, J.B. Cramer edition)
Key to measure indications:
Note: This list was put together in 1996 during the rehearsal period for the Lamplighters production, for which I served as accompanist. Strictly speaking it shouldn't be called an errata list. Mostly what I've noted here are suggestions for dynamics which worked well in performance. However, I have no access to an orchestra score, so I'm not able to check those suggestions against what Sullivan actually wrote.
Compared to the Schirmer scores, the Cramer edition is remarkably error-free.
36/3/1: Forte marking on final "They deliver it" should probably be a piano.
57/4/4: Perhaps the tenors should sing an A instead of a B on "Sally," going to G-sharp as written on "Lunn." Dr. Daly sings it this way on page 132.
83/2/5: The word "dews" is missing from the chorus part on the third beat.
92/1/5: Alexis's note on "are" ("And all are now united") should be C-sharp, not a repeated C-natural. This correction is based on an older score kindly faxed to me by Philip Sternenberg, showing the melodic line written this way in its original compositional form, which was in G Major rather than B-flat Major. This was because "Dear Friends Take Pity On My Lot" was originally composed in E Major, before being brought down to D-flat Major for Jessie Bond! The recitative had to be altered (to its considerable detriment, alas!) in order to connect to the C Major "Oh Bitter Joy" chorus. The raised pitch on "are" clearly creates a better melodic line, and the omission of the sharp sign is obviously an error in the revised score.
93/1/1 Aline's not should be F not E, (same as the chorus sopranos).
95/2/3 Alexis's note should be G, (same as the chorus tenors).
109/2/1: In this section, I wouldn't worry about the rests in the vocal part. It seems to me that the editor made the proper alignments, and then filled in the rest of the bar with whatever seemed like a good idea to him at the time. It's a very sloppy job of work.
The main thing to remember is that it's a recitative, not a measured melodic passage, beginning from from the marking "RECIT" at "But stay! What is this fairy form..." That measure, for instance has eight beats in the voice part compared with the four notated beats in the accompaniment. From there on it's a metrical free-for-all: 7.5 beats in JWW's bar (my guess is that an eighth-rest was accidentally omitted after "horrible," which would make it come out to eight full beats and put the "go" of "going" onto a strong beat instead of an offbeat), followed by three regular 4/4 bars accompanied by tremolo strings and of a more melodic nature than the surrounding recitatives (hence the more regular rhythm), followed by another unmeasured recitative for Lady Sangazure with 6.75 beats in the first bar (this is clearly an error: either the first syllable of "visage" should be a dotted eighth, or the second syllable should be an eighth rather than a sixteenth, making seven beats in all -- I'd opt for two even eighths myself).
Short answer: I would ignore the first-beat quarter rests in the vocal line in the bars of "Oh horrible" and "For pity's sake," but observe the first quarter rest in "Why do you gaze at me with visage low'ring" (as the rhythm of that line clearly suggests that it begins on a downbeat).
7/1/1: In the Lamplighters production I accompanied, we had four measures of bells preceding the first bar, these consisting of eight quarter-notes on the notes D/A D/A D/A D/A (D just above middle C, A just below middle C). I'm not certain whether this was reflective of the actual orchestra score or not, but it worked very well.
9/2/1-2: A hairpin crescendo-diminuendo is effective in these two bars, climaxing on "Joys" in the second bar. Many dynamic and tempo marks are omitted from this score, only a few of which I will touch on.
20/5/9: This is not an erratum, strictly speaking, but there should really be a courtesy C-natural in the right-hand chord for the sake of the pianist! There are many instances of left-out courtesy accidentals in the Cramer edition -- again, only some of which I will mention.
21/2/7: Courtesy F-natural in R.H.
30/2/2: Courtesy D-natural in R.H. on 3rd beat.
44/2/3: I don't have a recording, but I've always remembered the little passage in the R.H. (echoing JWW's phrase "for a nativity") to have been played by the bassoon an octave lower than indicated in the score. Perhaps it's doubled an octave higher by the clarinet or something, I don't know... but I've always reversed the staves at this point, playing the melody an octave lower in the left hand, and the chords an octave higher in the right hand. The same applies at 46/3/3.
53/2/3: The chord on "Discharge your loathsome loads" should be piano, not forte. The chords are a bit louder on each succeeding phrase, with a diminuendo on the last two ("noisome plenty yield").
66/4/1: Courtesy A-natural in L.H.
75, last bar: Fortissimo marking should be at the same place the chorus has it, not on the downbeat of the bar.
82/1/4-5: There should be a crescendo after "...waken one by one," and a subito piano on the downbeat at "...spell has worked."
97/3/4: The top note of the last four right-hand chords in this bar should be B-flat, not A. The same applies to 99/3/3.
108/1/1: At the beginning of the JWW/Sangazure duet, the orchestra chords are short and staccato (presumably pizzicato strings, though I could be wrong). The dynamic should be forte on the first bar, with a diminuendo to piano on the third bar.
122/2/3: Courtesy G-natural in L.H.
125/4/1: Sforzando/subito-piano on downbeat ("Be HIS, false girl..."), with a crescendo to the end of the page.
129/2/3: There should be a dynamic mark of piano here.
This list was compiled from notes made whilst sequencing the MIDI files for the "Web Opera". It is not the result of a careful proof-reading. I have not commented on courtesy accidentals which I consider superfluous, nor those which could usefully be added. Additions and amendments are should be sent to the Curator .
Page Created 6 September, 2011