Historical editions (music)
More recent scholarly editions often include footnotes or critical reports describing discrepancies between differing versions, or explaining appropriate performance practice for the time period. Historical editions are a category of published music in print, generally containing Classical music from a past repertory.These updated editions incorporated new scholarship in their editing and allowed for a broader definition of complete works, often including early versions of pieces, sketches, and so on. Henle Verlag, and others. Many of the early Monumental Editions were devoted to geographic regions, and often had the support of their respective governments.
New techniques in photographic and other types of reproduction allowed scholars to consult many more early sources, either in microfilm or facsimile copies. Even professional musicians rarely were familiar with music written more than a half century before their own time. In the 19th century, the emergence of romantic hero worship of composers, sometimes described as the cult of genius, fired the enthusiasm for Complete Works series for important composers.
Finally, the rise of Nationalism within music circles influenced the creation of Monumental Editions devoted to geographical regions, such as Denkmäler deutscher Tonkunst begun in 1892 and Denkmäler der Tonkunst in Österreich begun in 1894. In creating a scholarly or critical edition, an editor examines all available versions of the given piece (early musical sketches, manuscript versions, publisher’s proof copies, early printed editions, and so on) and attempts to create an edition that is as close to the composer’s original intentions as possible. Entirely new series were published for several major composers for whom complete works sets already existed.
A more up to date description of newer complete works and monumental edition sets can be found in George R. An online database, called the Index to Printed Music: Collections & Series, is currently underway, but it is accessible by subscription only, and is not yet complete. .
Depending on the financial state of the publisher, some projected sets are never finished, and some sets are taken over by other publishers. Some examples include: It would be impossible to list here all of the new Complete Works series that have been initiated in the last century.
Many of these new series have been published by the German music publisher Bärenreiter, and include: In addition to the reworking of older Complete Works series, many new series have been initiated for composers not previously featured in this way. These series are sometimes also referred to as Collected Works, Complete Works, or the German Gesamtausgabe (when containing a repertory defined by geography, time period, or musical genre). Up until the 18th century, music performance and distribution centered around current compositions.
Stephens, Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography, but there is no index to find individual pieces. Articles on composers will list the title and publisher of any complete works sets that exist, and within the list of compositions by that composer, will include volume numbers of the complete works set in which each piece is found. To find pieces within older Monumental Editions, the best resource is still the 3rd edition of Anna Harriet Heyer s Historical Sets, Collected Editions, and Monuments of Music: A Guide to their Content, published in 1980.
The development of the academic field of musicology also contributed to an interest in more accurate and well-researched editions of musical works. Hill and Norris L.
A few of these include: Many of these early complete works series were edited by music scholars or composers famous in their own right, such as Johannes Brahms, Guido Adler, Julius Rietz, Friedrich Chrysander, and others. After the upheavals of World War I and World War II, which slowed the output of musical scholarship and publishing, renewed activity led to many new series as well as to a reassessment of the older complete works series. For pieces within a composer s complete works set, researchers often consult the Grove Dictionary of Music and Musicians, either online or in its printed version.
The term is also often used for a further subset of musical publications, namely multi-volume sets devoted to a particular composer or to a particular musical repertory. Several of the major publishers of these series include the American Institute of Musicology, Bärenreiter, Istituto Italiano per la Storia della Musica, Instituto Español de musicologia, Éditions de l Oiseau-Lyre, and others. Publication of these multi-volume series is usually spread over many years, sometimes decades.
Some of the major publishers of these series include Breitkopf & Härtel, Bärenreiter, Stainer & Bell, G. Complete Works series are often organized by genre, for example grouping all symphonies together, or all piano sonatas.
Several of the complete works sets have complicated, multi-tiered systems for numbering the volumes. Editors use their historical knowledge, detective skills, and musical understanding to choose what one hopes is the most accurate version of the piece.
For example, the series Denkmäler deutscher Tonkunst, Examples of other early monumental editions (still ongoing) include: More recent projects include not only those focusing on geographic regions, but also many devoted to particular time periods or repertory, such as: It would be equally impossible to list all of the Monumental Editions currently ongoing. Although the term can apply to many music publications, it is often applied to scholarly or critical editions, or in other words, music editions in which careful scholarship has been employed to ensure that the music contained within is as close to the composer s original intentions as possible.
In general, editing music is a much more challenging endeavor than editing text-based works of literature, as musical notation can be imprecise, musical handwriting can be difficult to decipher, and first or early printed editions of pieces often contained mistakes. What are known as performers’ editions, by comparison, do not rely on a thorough examination of all known sources, and often purposely include extraneous markings not written by the composer (dynamics, articulation marks, bowing indications, fingerings, and so on) to aid a musician playing from that score. The German music publisher Breitkopf & Härtel initiated many of the earliest complete works series of major composers. Monumental Editions have varying organizational schemes, but several of them include numerous sub-series, some of which are devoted to the music of single composers. These publications are often sponsored by musicological research bodies or by civic organizations.
Many of these endeavors also value international cooperation, creating editorial boards that include scholars from various countries. Finding a particular piece of music within one of these multi-volume sets can often be difficult, as many of the series do not have general indices. There are often different editors for individual volumes, with a general editor or committee of editors to oversee the entire series.
