Editing a Beethoven work solely on the basis of a first print greatly challenges every editor of a scholarly edition. The composition’s music text is then available for the edition only in a more or less error-prone state. If the autograph is extant, and present are perhaps still other manuscript sources – for example, the engraver’s models for the first print, proofread by the composer himself, – then the goal of a secure music text is clearly a step closer. But, alas, the situation for Beethoven’s piano sonatas is unfortunately not especially rosy. Continue reading
Search
Subscribe2
-
Recent Posts
- “My obsession with improvement is a chronic, incurable affliction”. On Liszt’s Piano Concerto No. 2
- New year, new luck: Welcome Sebastian Lee!
- Christmas Blog
- Mozart’s last piano concerto – re-encountering a classic
- Arcis meets Alexander – Glazunov’s saxophone quartet finally in a reliable Urtext edition
Tags
accidentals arrangements autograph Bach Bartók Beethoven Brahms Carnival Chopin Christmas clarinet Complete Edition Debussy Double bass Dvorak Fauré fingering first edition genesis Haydn horn instrumentation Liszt Mendelssohn Mozart notation piano piano concerto piano sonata Rachmaninoff Ravel revision Saint-Saëns Satie Schubert Schumann Scriabin string quartet urtext variant reading variants variations versions viola Violin Sonata





Are you also one of those manuscript hunters on the Internet? It is, indeed, almost incredible how many music autographs have become freely accessible there these recent years. Whether we visit composers’ pages like