There is always a risk in producing an engraved plate (or a digital file today) for a printed music edition that the engraver/typesetter will not accurately copy the model in some places. That’s why composers were already insisting very early on that the publishing house in question let them have a galley proof to proofread and correct before the final printing. This was, in fact, no guarantee of a flawless first edition, for composers often overlooked compositional errors or, vice versa, the engraver overlooked or misunderstood the composers’ corrections. But it gave composers some degree of certainty that the printed music text would not appear littered with errors. Moreover, the proofreading offered a welcome opportunity to make changes here and there in the original version.
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