Preparing a new edition of a work that has been previously published is an exciting task; yet, in many ways, more challenging than working on an edition for which one is reliant entirely upon the composer’s manuscripts and sketches. As an editor, one must, of course, always have in mind the composer’s true intentions with respect to the work under scrutiny, and the presence of printed copies may carry both an advantage and a disadvantage in deciphering these intentions: Continue reading
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How much verbal text can music tolerate?
A serious scholarly book publication can be recognized by the footnotes – and in a way this also applies to musical Urtext editions, because here too it is imperative to base the printed music text on appropriate evidence. Where and how this is done depends though on many parameters – amongst other things, on the question of how much verbal text the music or the practicing musician will put up with. Continue reading →