Dumb question: Who decides the fingers on a score?

[tchaikovsgay]

https://imslp.org/wiki/La_vida_breve_(Falla,_Manuel_de)
click Arrangements and Transcriptions
choose For Violin and Piano (Kreisler),

I know this is a piece originally written by Manuel de Falla, arranged by Fritz Kreisler, published by Carl Fischer. But who decides this fingering? Max Eschig (his name is at the bottom of the first page)?

I am really interested in fingerings recently. Obviously, if we start with the 1st finger we wouldn't need to extend for the A5 but it seems to be a musical choice for the slight glissando and natural harmonic — but who decides this?
Thanks!

[Stephen Fine]

There's the composer (sometimes).  The editor (the person you're thinking about).  And the engraver who actually sets it on the page.

A piece by Kreisler is likely to have some Kreisler fingerings, but unless the composer is a famous violinist, it's likely the editor made any fingering decisions.

[tchaikovsgay]

54 minutes ago, Stephen Fine said:

There's the composer (sometimes).  The editor (the person you're thinking about).  And the engraver who actually sets it on the page.

A piece by Kreisler is likely to have some Kreisler fingerings, but unless the composer is a famous violinist, it's likely the editor made any fingering decisions.

Ok thanks so it's the editor Max Eschig got it!

[PhilipKT]

Max Eschig is the Publisher. Usually the editor is some famous violinist or what have you who’s giving you his or her unique edition of the piece.

in this instance, Kreisler did the arrangement so he surely would’ve used his own fingerings, especially where they have an effect on color.

interesting, Piatigorsky arranged the same piece, and a couple of other de Falla pieces.

[GoPractice]

You might try e-mailing from this site:

https://www.juilliard.edu/music/faculty/wen-eric

Ptofessor Wen is the editor of the very useful Kreisler volumes from Fischer. I require most newer students to purchase Vol 1.

[Zeissica]

Andreas Moser was an editor who worked on many sets of chamber music like the Haydn books (Peters) for instance - nearly all fingerings are 1st and 3rd position, and harmonics rather than fingered notes. Very old school!

[Altgeiger]

How does Moser come into this conversation? Just because he's an example of an editor, or am I missing something?

[GoPractice]

Some of Moser's ( among other ) editions presents good example of reasonable fingerings for many players. Certainly for some chamber music, the heads up of awkward string crossings or intervals ( especially for the viola ) are helpful especially during reads and unpracticed rehearsals. Editors are often selected for their knowledge and experience and expertise in helping those involved with selling books. And the accompaniment parts will mostly not have solo instrument edits. This is also a step in study. 

Some artistic editions, even the Flesch scale books are not always playable. Finding a well- edited copy by a fine player sold to a used book store is awesome. Some have teachers notes and the layers of colors of the newest players. Too many Kreutzer books are in storage along with viola editions and possibly a cello transcription from the 1950s. Each edition has an intended player in mind, including for the 8 year old that finished all the Popper etudes.

Professor Wen is hopefully accessible.

Given the many noted observations of Fritz K, it would be interesting to better understand if he played his compositions/ arrangements the same way every time. My guess was that Kreisler was far more spontaneous than say, Milstein. He was certainly a very notable connection into the 20th from the 19th century. Ysaye, being another, and due to the limited choices, Ysaye offers more at home studies and less joy on stage. Certainly, there are plenty of fingering choice with Ysaye. Given the spirit of each violinists' works, perhaps Kreisler on stage is less stressful?

No one asked for my opinion, but let me do the quick 5min mental and physical run throughs. Not everything makes sense, but the flexibility and process can be somewhat helpful when deciding on things thematic.

Given the excerpt, the 2nd finger has a warmer vibrato than my 1st finger. A slip into 4th position would offer a very comfortable 2-3-4, whole whole half step, with a harmonic that could be controlled super comfortably.

A hop into 5th position can provide a more clear or emphasized the short F# sharp and G# in contrast to the lengthy e- and the disembodied a-. 

In a larger space with a strong pianist, I would likely go straight the 1st finger - no vibrato - than warming it up to into the 16ths. When dynamics matter, the fatness of the timbre and adjusting tempi matter, also possibly a more bow work, staying in position...

Stylistically, staying in 3rd position and offering up a portamento/ slide 4-4 into the harmonic would be stylish. Then tweaking with that harmonic as it must be clipped. This is likely what is intended by this reading? I avoid this when playing for students because it is the gateway habit.

Perhaps a different sets of fingering for each successive play. I can imagine Gitlis staring off in the distance saying, " no no, the other way, " and two bars later repeating, " no no, the other way." Certainly, it can be over done. One European instructor suggesting that my micromanaging the music being tedious and perhaps idiotic. He did not hear what I thought of his playing, but that's the difficulty with pairings of coach and pupil. I did learn an immense amount from this guy, but he had the touch and could make simple ( and difficult ) things sound great.

Not knowing De Falla well enough to guess what Kreisler heard and wanted to present, just offering how I might take apart a musical idea, quickly. It helps to try the options and scramble them around because practice is practice. But eventually, one has to sit there with the edition and do the academic study. Most audiences will not notice the fingerings live but we can hear many of them preserved on recordings. Someday, if you go through the old old Strad magazines, there is an incredible amount of interesting reading that never made it into any academic publications.