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August 19, 2020Read More
By David C. Birchler
Performance parts are often overlooked or placed last in a list of sources. It is understandable that an extant autograph score is considered to be the primary source for a symphony, concerto, mass, or opera; or that a copyist’s score or published score, particularly one prepared under the composer’s supervision, would be chosen as primary source if the autograph is lost or presents an earlier or indeed superseded version of the work. But parts have a strength of their own in that they are specifically tailored to meeting the needs of individual players for the realization of the work in performance. Taking careful account of available source parts as you are preparing your edition will often provide details of notation that are only implied in the source score and make your job that much easier.
