On 1 Feb 2006 at 15:25, Kim Patrick Clow wrote: > This isn't the first time I have heard such criticisms about > Barenreiter's Editions. Considering the cost of buying their editions, > you'd expect top notch work.
When Hogwood recorded them, he used Cliff Eisen's newly-prepared editions, rather than the NMA (since at that time, only the horrid 1956 editions of the early symphonies were available). I don't know why the early symphonies were so poorly done. It's clear that at the same time those awful editions were being prepared, the Bach edition was preparing exemplary editions. Perhaps it was just a bad editor, or that they didn't think anyone would care if the early symphonies were edited in a slapdash fashion. > Ton Koopman made a few comments about this in his Erato recordings of > some of the Mozart Symphonies . Koopman also commented that parts were > not available for sale for quite a few of them, which made me > wonder--why would Barenreiter allow such a staple in their catalogue > go out of print? I can't imagine that any major early music performing group would not prepare its own editions of Mozart for a comprehensive recording. Even good editions have lots of assumptions in them, and if you're aiming for a fresh look at the repertory, revisiting the textual sources seems to me to be a required place to start. Bärenreiter lets things go out of print, I'd assume, when nobody is buying them. The real problem is when you can't even get the parts from a rental agency. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
