Works with many different segmentations

Griomo · January 29, 2019, 6:07pm

Funny, I thought of an OP on this, triggered by Schütz’ Matthäus-Passion, and it was here already!

Just added a 1989 Release

in same Group as the 1991

Obviously the same parent recording cued to 7 tracks in the one release, 58 tracks in the other, and none shared. Of the tracks betitled “Barrabam”, 1989 #36 is 11 seconds (chorus only) while 1991 #5 is 1 minute 30 seconds. Another release 2000 (2CD)

has the same recording in 7 track layout with 1m30s cut of Barrabam as the 1991 release, except for 21 seconds “moved” from 2nd track to 1st (here: 2.4 → 2.3).

Yes. The work has 3 formal parts: Introitus (1) – Evangelium (40) – Beschluß (4)
Number of rough score pages in parethesis to give a hint on proportion.

The MB work entry had several parts, not all main 3 though and only 3—4 of the ~60, in a roman numbering that more likely comes from a release tracklist than a score; not all set in specific ordering, and all on the same ‘part of’ relationship niveau. I have done some lossless tidying:

Edit #59044147 had the bunch reordered.
Edit #59044229—31 had the 3 subworks removed as parts of Passion, and after some having had them re-inserted as subworks (parts of) the Evangelium, the new layout will be like:

Schütz: Matthäus-Passion

Aware of “deepening” the Work this way, I find it better than the previous mess; open for completion, still with a “catch-all” Evangelium that is cued to many different Track layouts on releases even of the same parent recording. Are there objections to such ‘multi-layering’ of works’ ‘part of’ relationships?

Another work with recurring different track mapping is Bartók’s Str4 1 where the Introduction to III. Finale is often not “prefixed” to that track, but instead “suffixed” to the II. track. The score is headed: I. – II. – Introduction – III., clear on artistic intent.