Choosing An Edition: The Chimes Guide

When choosing an edition our customers ask many questions, which is why we wrote this Chimes Guide!

• How do I go about choosing an edition♭
• Which edition is standard♭
• What does Urtext mean♭
• Does this come in Urtext♭
• Why doesn't my favourite recording have the same pitch as my score♭

It's one of the most interesting aspects of working at Chimes. Over time, our staff familiarise themselves with the strengths of different publishing houses, recognise the popularity of particular editions, and understand which scores are available from only one publisher, or where there are alternatives.

When it comes to editions, there are a few categories to consider but many publications may not fit into these definitions.  Please remember that many scores may only be available from one publisher.

Get ready to begin your journey into the complex world of different editions with the Chimes Guide to Choosing an edition!

Choosing an Urtext edition

All ‘Urtext' means is ‘Original Text' in German. These editions use the manuscript or other primary source to create a clean, legible score for study purposes. ‘Urtext' is NOT a publisher!

Many performers consider Urtext editions to be the 'gold standard', but the availability of Urtext editions can be frustratingly limited. Typically, Urtext editions are available in a wide range of standard works, but uncommon or contemporary scores from the 20th/21st century are often not available in this format.

Publishers of Urtext editions include: Barenreiter, Henle, Weiner & Breitkopf.

Facsimile

The ultimate Urtext edition is perhaps a photographic reproduction of the original manuscript in the composer's hand. A wonderful tool for a curious performer. This study sized Bach: 3 Sonatas and 3 Partitas for Violin Solo facsimile published by Insel is a perennial favourite and makes a wonderful gift. One year a customer sent it as a Christmas card! Members of staff have been lucky enough to see (up close and personal!) an original manuscript of Leopold Mozart's Treatise on the Fundamental Principles of Violin Playing, first published in 1756.

If you have the time and inclination do visit the Sir John Ritblat Gallery at the British Library where the free Treasures of the British Library exhibition has on display original manuscripts from Beethoven, Handel & Mozart and the Beatles too!

Choosing a Scholarly Edition

This category has very a very loose definition - some would argue that it doesn't exist but we feel that there are some wonderful publications that fall into this category. These scores are often very similar to an Urtext edition but perhaps not from a German publishing house. Eminent scholars produce editions for OUP of Chopin and Bach works for piano based on extensive research and with meticulous attention to detail, but these editions do not qualify as Urtext.

Choosing an edition for Performers

Editions designed for performers

These can be new editions with heavier markings than Urtext might provide - for example, fingerings or dynamics added by editors which are not in the original manuscript. These editions facilitate easy learning and are often excellent choices for young players.

Reprints of ‘old' editions

These reprints of old editions, usually of works which are out of copyright, should be used with due consideration. They are often full of 19th century editorial editions - dynamics, articulations - especially in Baroque music. They sometimes even have incorrect pitches and rhythms. However, they can be an amazing source for a musician. Dover is the perfect example - they buy the rights to old publications and reprint on a large scale with less expensive paper. This is why their editions are much more affordable! IMC Editions are also usually reprints of old editions.

This category often includes a wide variety of works from the 20th century which still remain in copyright - including like Berg, Ravel, Lutoslawski, Prokofiev, Scriabin etc.

For many years the Elgar Cello Concerto was only available published by Novello - this new edition replaced the original. Now, Barenreiter publish a facisimile and a reduction for cello and piano and Julian Lloyd Webber has edited a performing edition.

Choosing a Critical Edition

These types of editions are usually used by the most scholarly among us! Some publishing houses (Barenreiter, for example) will run critical companions to their Urtext scores which contain information on how and why editors made decisions. This also includes those gorgeous, hardbound series that you find in large libraries with large budgets! These are usually vast series on individual composers which contain all their works, published or unpublished and are an incredible resource for researching obscure scores or confirming what's printed in the edition you own.

FAQs About Editions

Even after reading the Chimes Guide, how do I know if I have been successful in choosing an edition♭

This isn't a simple question to answer.

Of course, some famous works have a ‘standard' edition which most performers agree upon.

However, more often, there are several versions to choose from, each with their own merit. This means that personal preference plays a huge part. When presented with two excellent, comparable editions, some of the key elements to consider include

• typeface
• layout
• binding style
• scholarly notes
• fingerings (with or without!)

Practically speaking ♭

Will it lay flat on the piano♭
Will it fit in my bag if I'm carrying it often♭

If you're comparing a reprint with an Urtext edition, consider how you'll be using it - if you're following a Beethoven symphony for pleasure, Dover edition will suffice. If you're conducting, probably best to go with a Barenreiter edition!

Some choose on aesthetic basis - it's perfectly reasonable (well, we think so!) to prefer to have a bookshelf which is full of matching scores.

If you're performing with an orchestra, opera company or an ensemble, it is wise to check and see which particular edition they are using before you choose yours. It's always easier when you have the same bar & page numbers. Sometimes there are even larger discrepancies, for instance, if you're performing a Bach Oratorio - the Barenreiter editions often have additional numbers in the index which are lacking from other publications.

If you're still not sure, you can ask a teacher or a friend, Google, or your friendly Chimes member of staff what the standard edition is - we often have a few different options of standard repertoire on the shelf to show you.

Tell me more about reprinted scores - what should I watch out for♭

Editors make big choices, especially common in editions which have not been re-typeset in the last 20 or 30 years - dynamics, even rhythms and pitches can be changed.

Non scholarly editions are often less expensive and so may be of benefit - e.g. Dover editions, reprinting editions

Sometimes even reputable published Urtext editions have odd differences, e.g. that oboe concerto by Mozart which is in one key in Barenreiter and another key in Breitkopf

Lots of things don't have more than one choice, particularly Russian music, more unusual scores & of course, most things published inside the copyright period due to restrictions (Stravinsky, Ravel etc)

What if I can't find what I'm looking for, even after reading the Chimes Guide to Choosing an edition♭

Why is sheet music from the 20th & 21st centuries often more expensive♭

How do I know if my score will come with the right set of parts♭

This is a tricky! Different publishers have different conventions. String quartets sometimes with scores, some not. Some piano concertos come with 2 separate piano parts OR 1 separate solo part + one full score for accompanist. Publishers print some (but not all) solo instrumental works with a piano part. And what about transposing instruments♭♭

We hope that you have found the Chimes Guide to Choosing an Edition useful as well as interesting. There are new Urtext editions published on a regular basis. If you would like to see examples of any of the publications described here please do come and visit one of our shops in London: Barbican or Kensington.

If you have any questions do please get in touch via email.

Photocopies & downloads
Candidates should not perform from unauthorised photocopies (or other kinds of copies) or illegal downloads of copyright music in examinations. There are limited circumstances where can copies be used in an examination the UK. The MPA's Code of Fair Practice gives further guidance. Before making a copy an application should be made to the copyright holder and evidence of permission should be brought to the exam. Candidates and Applicants must act within the law with regard to copyright.