Chapter 25 | Choosing Editions
The librarian and the conductor should be aware of those works that are available in more than one edition or from more than one publisher. The differences between these publications are most apparent in the notation of phrasing and articulation or the choice of source material. These variants can affect the reading and possibly the interpretation of the work, as well as the teaching of musical style and performance practice.
Works in the public domain (at this time in the United States, this refers to those works composed or published in 1922 or earlier) are often available in multiple editions because there is no copyright restriction on their use or republication. These editions may reflect a scholarly approach by reproducing the original version of the work as it was first heard, or they may present a conductor’s personal interpretation. Still other publications are reprint editions that reproduce out-of-print music with no significant editorial changes.
At least four criteria should be considered when choosing editions for your ensemble:
- Quality of the edition. Read reviews and speak with colleagues to learn about the scholarship of the edition. Is it based on the original manuscript or a previously published edition? Is there a critical report or a prefatory note from the editor explaining what decisions were made in the editing process?
- Quality of the printed parts and score. Is the music printed legibly on heavy weight paper that will stand up to repeated use? Are there measure numbers or a sufficient number of rehearsal figures? Are there adequate page turns? Are there extensive errata or other music preparation issues that must be addressed before the music can be distributed?
- Cost and availability. Can the ensemble afford to acquire the newest critical edition or will a cheaper reprint edition be suitable? If a new edition is purchased or rented, is there sufficient time for the music to arrive or will a rush order be required? Rush orders always mean additional shipping and processing fees. Reprint editions are typically less expensive than newer, edited publications, but may require additional library work to correct errata and get the parts ready for the performer.
- The conductor’s preference. Has the conductor selected a particular edition because of its educational value or instrumentation? Are there programming considerations or is it a matter of personal preference?
A closer look at two compositions will help illustrate some of these considerations.
Mozart. Serenade No. 10 in B-flat major, K. 361 (370a), “Gran Partita”
There are several choices of parts for this work, ranging from the Breitkopf & Härtel edition of the first Mozart collected works (1880) to the Bärenreiter urtext edition of the Neue Ausgabe sämtlicher Werke (1979).
- Quality of the edition. Both the Bärenreiter and Henle publications include prefatory information and critical reports that explain the editorial choices made in preparing their scores. Kalmus, Luck’s Music, and Musica Rara reprint their sets from a Breitkopf & Härtel edition, but they include no editorial information explaining their choice of source material. It is helpful to be aware of what primary source material is available, especially for early works. For this Mozart Serenade it may be valuable to also examine the facsimile of the holograph score, originally published by the Library of Congress (which holds the manuscript) and now reprinted by GIA Publications in conjunction with the American Bandmasters Association.
- Quality of the printed parts and score. All editions from the major publishers are on sturdy paper in the standard music part sizes (9" × 12" to 10" × 13"). The Bärenreiter and Henle editions, and Kalmus and Luck’s Music reprint editions use a light cream-colored paper that reduces eyestrain under bright stage and rehearsal lighting. The Breitkopf & Härtel (Wiesbaden) edition includes measure numbers (as do the Bärenreiter and Henle parts), which some reprint editions do not have.
- Cost and availability. The Bärenreiter and Henle urtext editions cost a little more (over $100.00 for parts and score) because of the editorial work that went into preparing the music. Also, because they are published in Germany, these editions should be ordered from a musical dealer that can provide timely delivery without a high import and shipping fee. The Breitkopf reprint editions are less expensive, but not significantly so.
- The conductor’s preference. Surprisingly, instrumentation may be a factor in this decision. If the ensemble does not have basset horns, then choose an edition that has substitute parts for 3rd and 4th B-flat clarinets. Frederick Fennell’s edition for Ludwig Music has transposed parts for the B-flat horns but also includes a part for contrabass clarinet, an instrument not found in the autograph score. The Edition Compusic and Doblinger publications are actually arrangements of the thirteen-player ensemble reduced to a wind octet.
Sousa. “Hands Across the Sea”
Sousa’s works are also available from a variety of publishers. Each may have a different purpose (young band, marching band, historic performance practice), which should be considered when choosing the right edition for your ensemble.
- Quality of the edition. For this march there have been five publications by companies outside the United States, four publications for “young bands”, two reflecting a conductor’s performing style, and one for “parade band” (which also changed the key of the work). Certainly there are large or small differences between each of these publications although it is not likely that many of the editors consulted the manuscript full score of the march held by the University of Illinois Library. Of all the editions, the most scholarly is probably that edited by Keith Brion and Loras Schissel and published by C. L. Barnhouse. The score includes several pages of historical information about the work in addition to recommendations on the appropriate performance practice to help your group play in the Sousa style.
- Quality of the printed parts and score. The editions for marching band from Masters Music and Theodore Presser are printed for use in marching flip folders (5" × 7") and have only a condensed score. Most other editions are printed on large format paper (8-1/2" × 11" to 9" × 12"). These typically have full scores and are intended for use by a sit-down concert band.
- Cost and availability. The marching band sets cost between $10.00 and $25.00, while the concert band editions can be twice that amount. For more money you are getting parts on larger paper and you are paying for some of the editorial work, as well. Editions from U. S. domestic publishers are usually readily available from any music dealer, although some reprint editions may be printed “on demand” only when orders are received, which can take longer to deliver.
- The conductor’s preference. The “Sousa style” editions may help reproduce the musical style and performance practice of that period. Be aware that each editor has his or her own opinion of what this style is. For example, John Church publications “edited” by August Helmecke often redistribute parts or add instruments not found in the original printing. Frederick Fennell’s editions also contain editorial adjustments such as added parts for kettledrums, field drums, and mallet instruments that were not used by the Sousa Band. If choosing an edition for a young band, consider whether the editor’s adjustments of rhythms, range, and key will be suitable for your players.
■Other Warning Signs About Editions
The librarian should be aware of other common pitfalls when examining parts that have more than one edition available.
Be certain that the score and parts are from the same edition. If a conductor wants to use his or her well-marked Dover Publications score of the “Gran Partita” (reprinted from the 1880 Breitkopf & Härtel edition), it will not match the library’s Bärenreiter parts.
Compare the score against the parts, looking specifically at:
- rehearsal figures—letters or numbers and/or measure numbers
- instrumentation—make sure each instrument in the score has a corresponding part
- publication information—check the copyright date, but also edition and plate numbers
Be certain that all the parts in the set match each other. Watch for subtle differences in printings that may indicate a potential problem. Avoid mixing printings that may look alike but have subtle differences. As an example:
- The Colin Matthews edition of the Holst First Suite in E-Flat was published in 1984. In 2005 the publisher released a second printing of that edition. The preface of the full score indicates the printing date, but there is little distinction made in the parts, other than changing edition numbers from the old B. & H. 20714 to the new QMB-501. A closer examination reveals different errata for each edition such that if the parts were mixed together questions from astute players would stop a rehearsal.
- The John Church Company issued three versions of “Hands Across the Sea” between 1899 and circa 1932, each with a different plate number but all with the same copyright date. A comparison of the first and third states shows nine differences between the Solo Cornet parts and eight differences between the 1st Clarinet parts. The next John Church edition (©1951) renames the clarinet and cornet parts and creates new parts for 1st and 2nd trumpet.
- John Church first published Sousa’s “Manhattan Beach” march with a fortissimo introduction. Church’s 1951 edition begins with a pianissimo dynamic marking.
Beware of mixing a reprinted or revised edition with the original publication. Many of the old warhorses are being reissued in “modern” or “corrected” editions, but these new publications may not be compatible with their predecessors. For example:
- Henry Fillmore’s 1922 arrangement of Light Cavalry Overture was reissued in 2000 in a publication edited by Robert Foster. While the new set includes a much-needed full score and measure numbers, the parts have been re-engraved with a smaller note head size which also changed the page layout and altered many page turns.
- Vincent Safranek’s 1912 transcription of the finale to Tchaikovsky’s Fourth Symphony was reissued in a 2004 edition by Van Ragsdale. The new edition removed some instrumental parts and replaced the old rehearsal letters with the corresponding measure number.
- The venerable 1943 Philip Lang transcription of American Salute by Morton Gould had a long errata list, but the 1971 edition was re-engraved and in doing so brand new errors were introduced.