{"id":10739,"date":"2024-06-28T07:56:46","date_gmt":"2024-06-28T05:56:46","guid":{"rendered":"https:\/\/emag.baerenreiter.com\/with-great-music-no-stone-is-left-unturned\/"},"modified":"2024-07-05T09:18:12","modified_gmt":"2024-07-05T07:18:12","slug":"with-great-music-no-stone-is-left-unturned","status":"publish","type":"page","link":"https:\/\/emag.baerenreiter.com\/en\/jubilaeum\/with-great-music-no-stone-is-left-unturned\/","title":{"rendered":"“With great music, no stone is left unturned”"},"content":{"rendered":"\t\t
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\"With great music, no stone is left unturned\"
\n<\/span><\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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B\u00e4renreiter Urtext: on the trail of the composer
\n<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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B\u00e4renreiter is a pioneer of scholarly-critical editions of sheet music, having published complete editions and editions of individual works by major composers since the 1950s. While a significant proportion of \u201cB\u00e4renreiter Urtext\u201d editions are based on the musical text of these large-scale publications \u2013 as is the case for the practical editions of works by Bach, Handel, Gluck, Mozart, Schubert, Berlioz, Faur\u00e9 and Saint-Sa\u00ebns \u2013 B\u00e4renreiter also publishes a large number of independent Urtext editions. Of these, the editions of Beethoven\u2019s symphonies and piano sonatas (Jonathan Del Mar), Mendelssohn\u2019s overtures (Christopher Hogwood), Ravel\u2019s Concerto for the Left Hand, Debussy\u2019s \u201cThree Symphonic Sketches\u201d\u00a0La Mer<\/em>\u00a0(Douglas Woodfull-Harris), and Brahms\u2019 Violin Concerto (Clive Brown) are worthy of particular note.<\/p>\n

As far as we know, the term \u201cUrtext\u201d was first used in reference to editions of sheet music in the series \u201cUrtext classischer Musikwerke\u201d (\u201cOriginal text of classical works of music\u201d) published by Breitkopf & H\u00e4rtel between 1895 and 1899, edited by the Akademie der K\u00fcnste Berlin with piano works by Johann Sebastian and Carl Philipp Emanuel Bach, Mozart, Beethoven, and Chopin. However, it was not until the mid-20th century that the term \u2013 which, incidentally, has no fixed definition and is not protected \u2013 gradually became established. The \u201cB\u00e4renreiter Urtext\u201d brand is internationally synonymous with critical editions of sheet music for practising musicians, edited by renowned music researchers and performers on the basis of all available sources and incorporating the latest findings. Editorial decisions and readings are documented in a Critical Commentary \u2013 the heart of every Urtext edition \u2013, which also includes a detailed description of the sources. The analysis will focus not only on the often extensive body of sources, ranging from first sketches to autograph corrections made to the already printed work and possibly also including sound recordings by the composer, but also on secondary sources such as student copies, letters, and comments by contemporaries. The key editorial principle is to approximate the composer\u2019s intention as closely as possible, while keeping editorial interventions to a minimum.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t
\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t

This may sound simple at first glance, but already poses a fundamental challenge. If, for example, there are several different autographs or authorised copies that served as models for the engraving of different original editions printed in parallel, this complicates the question of the composer\u2019s intention, especially if one assumes that the work was intended to have a particular form. Chopin or Liszt are not the only composers whose works elude such fixed conceptions. The idea of the \u201cUrtext\u201d, that is, the wording of the musical text actually intended by the composer, is closely intertwined with the concept of the individual work. Against this background, the question of \u201cwrong\u201d or \u201cright\u201d to a certain extent becomes relative. The new edition of Mozart\u2019s popular Sonata in A major, K. 331 (\u201cAlla Turca\u201d), rendered necessary by the discovery of new sources, thus actually contains two versions of the sonata: that of the first print and, for the first time, the reconstruction of its autograph transmission. Both versions are presented as equally valid and important. A further publication presenting two different versions of a prominent work is the new Urtext edition of Beethoven\u2019s Bagatelle in A minor WoO 59 (\u201cFor Elise\u201d), which represents the deviations of the revisions made to the second version visually in grey.<\/p>\n

Editors find themselves confronted with many and varied questions. Contrary to what the prefix \u201cUr-\u201d suggests, \u201cUrtext\u201d is not in fact synonymous with the first autograph record of the work: \u201cOften a composer thinks ahead, he changes his mind, but the manuscript is already at the printer\u2019s. [\u2026] If we then look at the first print, we find something quite different to what is in the manuscript, which quite certainly points to the final changes in the galley proof.\u201d (Jonathan Del Mar) Establishing the source filiation is crucial; in the absence of dates in the sources, textual dependencies can provide important clues. Is the text, are the performance-related details it communicates complete? If certain information is not present in the written material identified as the main source, is it in keeping with the composer\u2019s intention to take this information from one or several other (authorised) source(s) to supplement or correct the main source, thus producing a musical text that is source-based but for which there is no historical evidence? Should parallel passages that are notated differently in the source be aligned? Quite frequently, the notation is deliberately ambiguous, as in Scriabin\u2019s early Sonata in E-flat minor (mm. 4, 10, etc.), where the composer appears to have forgotten to dot the notes when notating the rhythm. Bach\u2019s autograph of the Mass in B minor shows just how much effort is sometimes necessary to trace a work\u2019s \u201cUrtext\u201d. An X-ray fluorescence analysis of the ink made it possible to distinguish corrections, additions, and changes made by C. Ph. E. Bach from his father\u2019s writing and to flag these in the edition. Additional information from the \u201cDresden Parts\u201d of 1733, most of which were written by Bach himself, was highlighted in grey and thus differentiated typographically from the text of the autograph.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t

Music is an ephemeral art. When a composer releases a work from the privacy of his or her studio into the public sphere, it takes on an independent life in its own right. A composition is created anew with every performance, and sometimes performances diverge to such an extent that one thinks one is hearing two different works, even though they are based on the same musical text. Unlike literature, poetry, painting, and visual art, notation represents merely a part of the musical work of art. What is scarcely written down, or not at all, are the music-making conventions of the time. If the performance practices of one epoch adapt to the changed stylistic sensibilities of a subsequent era, traditions are broken, making it more difficult to access the earlier repertoire. Over the course of the 19th century, the market was flooded with editions of sheet music that contained numerous unmarked changes, additions, or \u201cimprovements\u201d that sought to provide practical aids for playing for their own respective time. Besides these, influential \u201cinstructive\u201d editions of works by great composers of the classical canon appeared in print, such as the editions of Beethoven\u2019s piano sonatas by Hans von B\u00fclow and Arthur Schnabel or Clara Schumann\u2019s edition of the piano works of her husband Robert. As written precursors of sound recordings, they aimed to set down exemplary interpretations both for a contemporary audience and for posterity, becoming historical documents in their own turn, such as Mendelssohn\u2019s arrangement of Bach\u2019s St. Matthew Passion, which is available as a \u201cB\u00e4renreiter Urtext\u201d edition.<\/p>\n

As a counter-reaction (not least under the influence of New Objectivity), from the late 19th century onwards demand arose for musical texts purged of extraneous ingredients, with not a few even excluding editorial \u2013 and thus interpretive \u2013 fingerings. Guidance for playing, such as that contained in the instructive editions, was dismissed wholesale, its historical significance not recognised, which effectively helped to seal the discrediting of creative virtuosity. The notational essence, the expurgated \u201cUrtext\u201d, conquered performers\u2019 music stands. Unconditional fidelity to the text, which frequently produced clinically sterile playing at a metronomically precise tempo, became the ideal. However, musicians soon came to realise that in order to decode the \u201cUrtext\u201d thus produced, they needed instructions \u2013 as Hugo Riemann had urgently warned against in 1894: \u201cThis is not meant to put the case for so-called \u2018historically faithful\u2019 concerts, which spurn the pianoforte and want the clavicembalo to be set in its place \u2013 as honourable as these efforts are, they must be rejected because of their consequences (otherwise Bach\u2019s Well-Tempered Clavier would also have to be played on the clavicembalo or even clavichord!).\u201d<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The further removed a composition is from the performer\u2019s own present, the greater the need is and always has been for additional information if the performer is to grasp all dimensions of a given work. In this regard, \u201cB\u00e4renreiter Urtext\u201d truly excel. In addition to introductory texts on the work and the sources, they provide information by specialists on the performance conventions of the time, such as ornamentation, pedal use, articulation, tempo and tempo modification, as well as on playing techniques idiosyncratic to the composer, including rubato, cantilena (non-notated internal melody), and legatissimo \u2013 Chopin is a prime example \u2013 as well as on the instruments used and instrumentation variants. Examples include the new Urtext editions of Haydn\u2019s late piano sonatas (Rebecca Maurer), piano works by Chopin (Hardy Rittner) and Schubert, here especially on the interpretation of Schubert\u2019s accent markings (Mario Aschauer), Fran\u00e7ois Couperin\u2019s Pi\u00e8ces de clavecin (Denis Herlin) and Mozart\u2019s piano works for four hands with suggestions for the execution of fermatas and entries (Michael T\u00f6pel). The Urtext edition of Brahms\u2019 violin sonatas (C. Brown) contains extensive explanations of historical performance practice. The edition of Beethoven\u2019s Romance op. 50 (J. Del Mar), the autograph of which contains only scant information on articulation and dynamics, offers a different solution. For the very first time, it reproduces Beethoven\u2019s authentic musical text without the multitude of unmarked editorial additions, and furthermore provides an edition of the work supplemented with aids for practical performance based on other works by Beethoven from the same period. The Urtext edition of Mendelssohn\u2019s Concerto for Violin and Orchestra op. 64 (R Larry Todd \/ C. Brown) presents the work in two versions based on newly discovered sources, and also includes a separate booklet on performance practices in the Concerto and Mendelssohn\u2019s chamber music for strings. For Brahms\u2019 chamber music, too, there is a supplementary booklet with notes on performance practice by Clive Brown.<\/p>\n

Why does B\u00e4renreiter keep producing new Urtext editions? \u201cThe absurd objection that different editorial decisions can barely be heard in performances, if at all, unless audience members have prior knowledge and are listening out for them, basically refutes itself. Nothing is trivial where great music is concerned; even the confirmation of already known facts is significant\u201d (Peter G\u00fclke). Research is in constant progress, and with it the view of the music changes and develops, too \u2013 much like new recordings of works that have already been recorded previously. This can influence the interpretation of ambiguous passages, spelling or engraving errors, and intended deviations, for editing always also means interpreting the sources in a manner that is committed to the spirit of the times and the current state of knowledge. However, the most important incentive for new Urtext editions undoubtedly is the discovery of new sources. Jon\u00e1\u0161 H\u00e1jek, for example, recently discovered the second authorised copy of Dvo\u0159\u00e1k\u2019s Nocturne in B major, op. 40 \u2013 which served as the model for the first print \u2013 in private ownership and was thus able to bring to light the original text of the version for string orchestra.<\/p>\n

While \u201cB\u00e4renreiter Urtext\u201d editions set high standards with regard to their content, they also seek to ensure ease of use. They are expressly aimed at musical practitioners. Professional performers, educators, students, pupils and music lovers alike are provided with a reliable musical text, supplemented with an abundance of information about the work and its performance. Particular emphasis is placed on excellent print quality and workmanship, as well as reader-friendly music engraving on high-quality tinted paper, which allows even complex structures to be easily grasped. Needless to say, page turns are placed for practicality, and if it is not possible to turn the page, then fold-out pages ensure that playing can continue without interruption. \u201cB\u00e4renreiter Urtext\u201d editions\u2019 wealth of features is designed to provide musicians with the best possible conditions for enjoyable and fulfilling music-making.<\/p>\n

Britta Schilling-Wang<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t"},"excerpt":{"rendered":"\t\t

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\"With great music, no stone is left unturned\"
\n<\/span><\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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B\u00e4renreiter Urtext: on the trail of the composer
\n<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

B\u00e4renreiter is a pioneer of scholarly-critical editions of sheet music, having published complete editions and editions of individual works by major composers since the 1950s. While a significant proportion of \u201cB\u00e4renreiter Urtext\u201d editions are based on the musical text of these large-scale publications \u2013 as is the case for the practical editions of works by Bach, Handel, Gluck, Mozart, Schubert, Berlioz, Faur\u00e9 and Saint-Sa\u00ebns \u2013 B\u00e4renreiter also publishes a large number of independent Urtext editions. Of these, the editions of Beethoven\u2019s symphonies and piano sonatas (Jonathan Del Mar), Mendelssohn\u2019s overtures (Christopher Hogwood), Ravel\u2019s Concerto for the Left Hand, Debussy\u2019s \u201cThree Symphonic Sketches\u201d\u00a0La Mer<\/em>\u00a0(Douglas Woodfull-Harris), and Brahms\u2019 Violin Concerto (Clive Brown) are worthy of particular note.<\/p>\n

As far as we know, the term \u201cUrtext\u201d was first used in reference to editions of sheet music in the series \u201cUrtext classischer Musikwerke\u201d (\u201cOriginal text of classical works of music\u201d) published by Breitkopf & H\u00e4rtel between 1895 and 1899, edited by the Akademie der K\u00fcnste Berlin with piano works by Johann Sebastian and Carl Philipp Emanuel Bach, Mozart, Beethoven, and Chopin. However, it was not until the mid-20th century that the term \u2013 which, incidentally, has no fixed definition and is not protected \u2013 gradually became established. The \u201cB\u00e4renreiter Urtext\u201d brand is internationally synonymous with critical editions of sheet music for practising musicians, edited by renowned music researchers and performers on the basis of all available sources and incorporating the latest findings. Editorial decisions and readings are documented in a Critical Commentary \u2013 the heart of every Urtext edition \u2013, which also includes a detailed description of the sources. The analysis will focus not only on the often extensive body of sources, ranging from first sketches to autograph corrections made to the already printed work and possibly also including sound recordings by the composer, but also on secondary sources such as student copies, letters, and comments by contemporaries. The key editorial principle is to approximate the composer\u2019s intention as closely as possible, while keeping editorial interventions to a minimum.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t
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This may sound simple at first glance, but already poses a fundamental challenge. If, for example, there are several different autographs or authorised copies that served as models for the engraving of different original editions printed in parallel, this complicates the question of the composer\u2019s intention, especially if one assumes that the work was intended to have a particular form. Chopin or Liszt are not the only composers whose works elude such fixed conceptions. The idea of the \u201cUrtext\u201d, that is, the wording of the musical text actually intended by the composer, is closely intertwined with the concept of the individual work. Against this background, the question of \u201cwrong\u201d or \u201cright\u201d to a certain extent becomes relative. The new edition of Mozart\u2019s popular Sonata in A major, K. 331 (\u201cAlla Turca\u201d), rendered necessary by the discovery of new sources, thus actually contains two versions of the sonata: that of the first print and, for the first time, the reconstruction of its autograph transmission. Both versions are presented as equally valid and important. A further publication presenting two different versions of a prominent work is the new Urtext edition of Beethoven\u2019s Bagatelle in A minor WoO 59 (\u201cFor Elise\u201d), which represents the deviations of the revisions made to the second version visually in grey.<\/p>\n

Editors find themselves confronted with many and varied questions. Contrary to what the prefix \u201cUr-\u201d suggests, \u201cUrtext\u201d is not in fact synonymous with the first autograph record of the work: \u201cOften a composer thinks ahead, he changes his mind, but the manuscript is already at the printer\u2019s. [\u2026] If we then look at the first print, we find something quite different to what is in the manuscript, which quite certainly points to the final changes in the galley proof.\u201d (Jonathan Del Mar) Establishing the source filiation is crucial; in the absence of dates in the sources, textual dependencies can provide important clues. Is the text, are the performance-related details it communicates complete? If certain information is not present in the written material identified as the main source, is it in keeping with the composer\u2019s intention to take this information from one or several other (authorised) source(s) to supplement or correct the main source, thus producing a musical text that is source-based but for which there is no historical evidence? Should parallel passages that are notated differently in the source be aligned? Quite frequently, the notation is deliberately ambiguous, as in Scriabin\u2019s early Sonata in E-flat minor (mm. 4, 10, etc.), where the composer appears to have forgotten to dot the notes when notating the rhythm. Bach\u2019s autograph of the Mass in B minor shows just how much effort is sometimes necessary to trace a work\u2019s \u201cUrtext\u201d. An X-ray fluorescence analysis of the ink made it possible to distinguish corrections, additions, and changes made by C. Ph. E. Bach from his father\u2019s writing and to flag these in the edition. Additional information from the \u201cDresden Parts\u201d of 1733, most of which were written by Bach himself, was highlighted in grey and thus differentiated typographically from the text of the autograph.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Music is an ephemeral art. When a composer releases a work from the privacy of his or her studio into the public sphere, it takes on an independent life in its own right. A composition is created anew with every performance, and sometimes performances diverge to such an extent that one thinks one is hearing two different works, even though they are based on the same musical text. Unlike literature, poetry, painting, and visual art, notation represents merely a part of the musical work of art. What is scarcely written down, or not at all, are the music-making conventions of the time. If the performance practices of one epoch adapt to the changed stylistic sensibilities of a subsequent era, traditions are broken, making it more difficult to access the earlier repertoire. Over the course of the 19th century, the market was flooded with editions of sheet music that contained numerous unmarked changes, additions, or \u201cimprovements\u201d that sought to provide practical aids for playing for their own respective time. Besides these, influential \u201cinstructive\u201d editions of works by great composers of the classical canon appeared in print, such as the editions of Beethoven\u2019s piano sonatas by Hans von B\u00fclow and Arthur Schnabel or Clara Schumann\u2019s edition of the piano works of her husband Robert. As written precursors of sound recordings, they aimed to set down exemplary interpretations both for a contemporary audience and for posterity, becoming historical documents in their own turn, such as Mendelssohn\u2019s arrangement of Bach\u2019s St. Matthew Passion, which is available as a \u201cB\u00e4renreiter Urtext\u201d edition.<\/p>\n

As a counter-reaction (not least under the influence of New Objectivity), from the late 19th century onwards demand arose for musical texts purged of extraneous ingredients, with not a few even excluding editorial \u2013 and thus interpretive \u2013 fingerings. Guidance for playing, such as that contained in the instructive editions, was dismissed wholesale, its historical significance not recognised, which effectively helped to seal the discrediting of creative virtuosity. The notational essence, the expurgated \u201cUrtext\u201d, conquered performers\u2019 music stands. Unconditional fidelity to the text, which frequently produced clinically sterile playing at a metronomically precise tempo, became the ideal. However, musicians soon came to realise that in order to decode the \u201cUrtext\u201d thus produced, they needed instructions \u2013 as Hugo Riemann had urgently warned against in 1894: \u201cThis is not meant to put the case for so-called \u2018historically faithful\u2019 concerts, which spurn the pianoforte and want the clavicembalo to be set in its place \u2013 as honourable as these efforts are, they must be rejected because of their consequences (otherwise Bach\u2019s Well-Tempered Clavier would also have to be played on the clavicembalo or even clavichord!).\u201d<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The further removed a composition is from the performer\u2019s own present, the greater the need is and always has been for additional information if the performer is to grasp all dimensions of a given work. In this regard, \u201cB\u00e4renreiter Urtext\u201d truly excel. In addition to introductory texts on the work and the sources, they provide information by specialists on the performance conventions of the time, such as ornamentation, pedal use, articulation, tempo and tempo modification, as well as on playing techniques idiosyncratic to the composer, including rubato, cantilena (non-notated internal melody), and legatissimo \u2013 Chopin is a prime example \u2013 as well as on the instruments used and instrumentation variants. Examples include the new Urtext editions of Haydn\u2019s late piano sonatas (Rebecca Maurer), piano works by Chopin (Hardy Rittner) and Schubert, here especially on the interpretation of Schubert\u2019s accent markings (Mario Aschauer), Fran\u00e7ois Couperin\u2019s Pi\u00e8ces de clavecin (Denis Herlin) and Mozart\u2019s piano works for four hands with suggestions for the execution of fermatas and entries (Michael T\u00f6pel). The Urtext edition of Brahms\u2019 violin sonatas (C. Brown) contains extensive explanations of historical performance practice. The edition of Beethoven\u2019s Romance op. 50 (J. Del Mar), the autograph of which contains only scant information on articulation and dynamics, offers a different solution. For the very first time, it reproduces Beethoven\u2019s authentic musical text without the multitude of unmarked editorial additions, and furthermore provides an edition of the work supplemented with aids for practical performance based on other works by Beethoven from the same period. The Urtext edition of Mendelssohn\u2019s Concerto for Violin and Orchestra op. 64 (R Larry Todd \/ C. Brown) presents the work in two versions based on newly discovered sources, and also includes a separate booklet on performance practices in the Concerto and Mendelssohn\u2019s chamber music for strings. For Brahms\u2019 chamber music, too, there is a supplementary booklet with notes on performance practice by Clive Brown.<\/p>\n

Why does B\u00e4renreiter keep producing new Urtext editions? \u201cThe absurd objection that different editorial decisions can barely be heard in performances, if at all, unless audience members have prior knowledge and are listening out for them, basically refutes itself. Nothing is trivial where great music is concerned; even the confirmation of already known facts is significant\u201d (Peter G\u00fclke). Research is in constant progress, and with it the view of the music changes and develops, too \u2013 much like new recordings of works that have already been recorded previously. This can influence the interpretation of ambiguous passages, spelling or engraving errors, and intended deviations, for editing always also means interpreting the sources in a manner that is committed to the spirit of the times and the current state of knowledge. However, the most important incentive for new Urtext editions undoubtedly is the discovery of new sources. Jon\u00e1\u0161 H\u00e1jek, for example, recently discovered the second authorised copy of Dvo\u0159\u00e1k\u2019s Nocturne in B major, op. 40 \u2013 which served as the model for the first print \u2013 in private ownership and was thus able to bring to light the original text of the version for string orchestra.<\/p>\n

While \u201cB\u00e4renreiter Urtext\u201d editions set high standards with regard to their content, they also seek to ensure ease of use. They are expressly aimed at musical practitioners. Professional performers, educators, students, pupils and music lovers alike are provided with a reliable musical text, supplemented with an abundance of information about the work and its performance. Particular emphasis is placed on excellent print quality and workmanship, as well as reader-friendly music engraving on high-quality tinted paper, which allows even complex structures to be easily grasped. Needless to say, page turns are placed for practicality, and if it is not possible to turn the page, then fold-out pages ensure that playing can continue without interruption. \u201cB\u00e4renreiter Urtext\u201d editions\u2019 wealth of features is designed to provide musicians with the best possible conditions for enjoyable and fulfilling music-making.<\/p>\n

Britta Schilling-Wang<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t"},"author":11,"featured_media":0,"parent":10753,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"_vp_custom_popup_image":0,"_vp_format_audio_url":"","_vp_album_images":[],"_vp_custom_thumbnail":0,"_vp_custom_thumbnail_focal_point":[],"_vp_custom_thumbnail_cover":0,"_vp_hover_thumbnail":0,"_vp_hover_thumbnail_focal_point":[],"footnotes":""},"class_list":["post-10739","page","type-page","status-publish","hentry","grve-entry-item"],"acf":[],"wpml_current_locale":"en_US","wpml_translations":{"de_DE":{"locale":"de_DE","id":10085,"slug":"was-ist-baerenreiter-urtext","post_title":"Was ist B\u00e4renreiter Urtext","href":"https:\/\/emag.baerenreiter.com\/jubilaeum\/was-ist-baerenreiter-urtext\/"}},"_links":{"self":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/10739","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/comments?post=10739"}],"version-history":[{"count":0,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/10739\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/pages\/10753"}],"wp:attachment":[{"href":"https:\/\/emag.baerenreiter.com\/en\/wp-json\/wp\/v2\/media?parent=10739"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}