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By Alexander Dean

Dr. Andrew Levin’s edition of a viola concerto by a certain Joseph Schubert presented a unique editorial challenge: how to identify and account for the various versions of the piece evident in the surviving performance parts, and how and whether to incorporate the overlapping manuscript markings, especially in the solo viola part. In this case, the additions to the solo part were probably made by the performer, and the performer may have been Schubert himself.

Resolving these questions meant delving into the heart of what makes a critical edition worthwhile. What are the responsibilities of the editor, and what are the opportunities afforded by a source situation such as this? How much can be notated in the score, and what should be relegated to the critical commentary? And for what is in the score, is there a clear way to set off different layers of notation without sacrificing clarity and readability?

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Comments | Posted in Editor's Workbench By A-R Editions

My Many Colored Pencils (Well, Not Really That Many)

Thursday, July 26, 2018 3:00:00 PM America/Chicago

By Esther Criscuola de Laix

Pencils and eraser

I’d like to talk a bit about pencils, those intriguing sticks of wood, metal, rubber, and a “pigment core” of graphite or something else. In this digital age, not much is done with pencils anymore, because not much is done with paper anymore. But when I sit down to copyedit the music portion of an author’s manuscript, the first thing I do is pull out my pencil pouch. The colored pencils it contains are among the most essential tools of my editorial trade, and each color is used for a specific purpose. Each editor’s individual markup practices vary, but there are three colors that we on the editorial staff at A-R Editions all use pretty much the same way: red, green, and blue.

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Comments | Posted in Editor's Workbench By A-R Editions
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