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Comparing editions: a crowd-sourced bibliography

This is a work in progress.  Please submit contributions via the contact form of the blog (above).  See also the post that prompted this project.  Items are arranged by composer by work/genre; see also items dealing with related topics at the bottom of the page.

 NOTE:  currently the list is limited to English language items; reviews of a single edition are excluded.  Dissertations are included since 2000 (on the assumption that those generated in the digital age might be easier to obtain than those before, but that date is arbitrary).  Inclusion on the list is not a verification of the worthiness—or even the existence—of an item, as most of these I have not actually perused.


J. S. BACH
  • [Cello suites]  Jeffrey Solow. “Paper Chase:  Bach cello suites—the critical editions” in Strings (April 2002), pp. 70-75.
  • [Cello suites]  Anna Scholz. “J.S. Bach: Six suites for violoncello solo (BWV 1007–1012): Performance, articulation problems of the sources and the critical editions.” DD diss., Liszt Ferenc Zeneművészeti Egyetem, 2008.
  • [Cello suites]  Zoltan Szabo.  “Problematic Sources, Problematic Transmission:  an outline of the edition history of the solo cello suites of J. S. Bach.”  PhD diss, Univ. of Sydney, 2016.
  • [Cello suites, arr.]  Thomas Tatton. “Bach violoncello suites arranged for viola: available editions annotated” in Journal of the American Viola Society online (Summer 2011), 5-27.
  • [Goldberg Variations]  Erich Schwandt.  “Questions concerning the edition of the ‘Goldberg Variations’ in the Neue Bach Ausgabe” in Performance Practice Review (Spr. 1990), pp. 58-69. 
  • [Organ works]  Hermann Keller.  The Organ Works of Bach:  a contribution to their history, form, interpretation and performance, trans. Helen Hewitt (New York:  C. F. Peters, 1967).  [compares readings Peters and BG editions sporadically throughout]
  • [Organ works]  Peter Williams.  “Can editions of Bach and Scarlatti be entirely trusted?” in RCO Journal (2007), pp. 18-28.
  • [WTC]  Chiara Bertoglio. “Instructive editions of of Bach’s ‘Wohltemperirtes Klavier’: An Italian perspective.” DMA diss., Univ. of Birmingham, 2012.
  • [WTC I no. 8]  Paul Badura-Skoda.  Performing Bach at the Keyboard (1990; trans., Oxford UP, 1993), pp. 228-42.  [Additionally, appendix 1 (pp. 527-32) has a few comments of comparison for many editions of Bach's keyboard works]


BEETHOVEN
  • [Piano sonatas, op. 2]  Patricia Stroh.  “The evolution of an edition:  the case of Op. 2” in Notes; part I (Dec. 2000), pp. 289-329; part II (Sept. 2003), pp. 46-129 ; part III (March 2012), pp. 489-525; erratum (Dec. 2013), p. 344.
  • [Piano sonata, op. 109]  Allison Star.  “Crosscurrents of performance practice in early nineteenth-century editions of Beethoven's piano sonata in E major, opus 109” in Musicological Explorations (Spring 2004), pp. 41-59.
  • [Symphony no. 5]  Christopher David Westover.  “Deconstructing authenticity in three Urtext editions of Beethoven’s Symphony no. 5, op. 67:  a conductor’s guide to variant readings for performance.”  DMA diss., Univ. of Oklahoma, 2016.
  • [Vn. sonata, op. 30 no. 2]  Emanuel Hurwitz.  “Symphony for piano and violin” in The Strad (Sept. 1995), pp. 50-57.

BERNSTEIN

BRUCKNER
  • Benjamin Korstvedt. “Bruckner editions:  the revolution revisited” in The Cambridge Companion to Bruckner (CUP, 2004), pp. 121-137.
  • [Mass in E Minor]  David Janower.  “Bruckner’s E-minor Mass:  editions and errata” in Choral Journal (Dec. 1980), pp. 20-23.

BUXTEHUDE
  • [Organ works]  James Dalton.  “Recent editions of Buxtehude’s organ works” in RCO Yearbook (2000-2001), pp. 96-99.

FAURE
  • [Songs]  Roy Howat & Emily Kilpatrick.  “Editorial challenges in the early songs of Gabriel Fauré” in Notes (Dec. 2011), pp. 239-283.
  • [Songs]  Emily Kilpatrick.  “Moot point:  editing poetry and punctuation in Fauré’s early songs” in Nineteenth-Century Music Review (Dec. 2012), pp. 213-235.

GLAZUNOV

HANDEL
  • [Messiah]  Nicholas McGegan.  “Which Messiah?” in Musical Times (1992), pp. 577-79.
  • [Vn. son.]  Kiyoshi Tamagawa.  “The violin sonatas of G. F. Handel:  clarifying the confusion and controversy” in American String Teacher (Nov. 2001), pp. 88-95.

HAYDN
  • [Cello conc.]  George Kennaway, “Haydn’s (?) cello concertos, 1860-1930:  editions, performances, reception” in Nineteenth Century Music Review (Dec. 2012), pp. 177-211.
  • [Piano sonatas]  William Drabkin.  “Haydn’s Piano Sonatas” in Musical Times (1987), pp. 8-15.
  • [Piano sonatas]  James Webster.  "The Triumph of Variability:  Haydn's articulation markings in the autograph of Sonata no. 49 in E flat" in Haydn, Mozart, Beethoven—Studies in the Music of the Classical Period:  Essays in Honour of Alan Tyson (Oxford:  Clarendon Press, 1998), pp. 33-64.
  • [Sym. 79] Brooks Kuykendall, “ex silentio,” this blog (15 Oct. 2016)

JANACEK
  • John Tyrrell.  “Janacek editions at 2010:  a personal overview” in Brio (Fall/Win. 2010), pp. 21-36.

LISZT
  • [Christus]  David Friddle.  “Franz Liszt’s oratorio 'Christus':  following the paper trail” in American Choral Review (Win./Spr. 2005), pp. 1-8.

MENDELSSOHN
  • [Organ works:]   Philip Olleson.  “A Mendelssohn Comparative” in Organists’ Review (Feb. 2006), pp. 18-21.

MOZART
  • [Church music]  Timothy D. Newton.  “Mozart’s evolving 'Great' C minor mass, K. 427/417a” in Choral Journal (June 2006), pp. 52-73.
  • [Clt. conc.]  Keith Koons.  “A guide to published editions of Mozart’s clarinet concerto, for clarinet and piano” in The Clarinet (May-June 1998), pp. 34-43.
  • [Clt. conc.]  Linda Bartley.  “Mozart revisited” in NACWPI Journal (Winter 1999), pp. 24-31.
  • [Clt. conc.]  Keith Koons.  “Recent editions of the Mozart clarinet concerto” in The Clarinet (June 2008), pp. 34-37.
  • [Fl.& Hp. conc.]  Rebecca Dunnell.  “Mozart’s Flute and Harp Concerto:  A Comparison of Two Urtext Editions” in Flute Talk (Feb. 2006), pp. 10-12.
  • [Keyboard works]  [WTC I no. 8]  Eva & Paul Badura-Skoda.  Interpreting Mozart at the Keyboard (1957; trans., St. Martin's Press, 1962), pp. 127-45.. 
  • [Mass in  c, K. 427]  Brady Allred.  “Legacy and challenge:  Mozart's C-minor Mass” in American Choral Review (Win/Spr. 1991), pp. 5-13.
  • [Piano sonatas]  Malcolm Bilson.  “Eye on editions: Mozart’s piano sonatas” in Piano & Keyboard (Sept.-Oct. 2000), pp. 43-46.
  • [Piano sonata K. 333]  George Robert Barth.  “The changing face of Mozart editions” in Humanities (Mar/Apr. 1991), pp. 29-32.
  • [Sym. no, 36]  Cliff Eisen.  “New light on Mozart’s ‘Linz’ symphony, K. 425,” in Journal of the Royal Musical Association (1988), pp. 81-96.

 MUSSORGSKY
  • [Boris Godunov]  Robert William Oldani.  “Editions of Boris Godunov” in Musorgski in memoriam 1881-1981 (UMI 1982), pp. 179-213

D. SCARLATTI
  • [Organ works]  Peter Williams.  “Can editions of Bach and Scarlatti be entirely trusted?” in RCO Journal (2007), pp. 18-28.

SCHUMANN
  • [Piano works]  Peter Kaminsky.  “Schumann’s piano cycles in different editions” in Clavier (Jan. 1998), pp. 26-29.

R. STRAUSS
  • [Horn conc. no. 1]  Peter Damm.  “The 125th anniversary of the Concerto for Horn, op. 11 by Richard Strauss” in The Horn Call (Oct. 2012), pp. 56-67.

WEBER
  • [Clt. concertos]  Frank Heidlberger.  “Carl Maria von Weber’s clarinet concertos:  a challenge to the editor and to the clarinettist” in The Clarinet (Dec. 2002), pp. 50-61.



RELATED TOPICS
NOTE:  As topics related to editions seem endless, I’m not sure that it is useful to list further sources, but at least for now I’m keeping these here just so they’re on the radar.  But for this list to be meaningful at all, there are dozens of other items that should already be here (and it would need to include a considerable number of important items not in English).  Anyway, if any contributions coming in belong here, I’ll keep it.  Otherwise this may well disappear.  It’s not that I don't think these are useful sources—on the contrary; just not useful as a list here, as there are bibliographies concerning musical editions and editing elsewhere.

Stanley Boorman.  “The Musical Text” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford Univ. Press, 1999), pp. 403-423.

Ronald Broude.  "Facsimiles and Historical Performance:  Promises and Pitfalls," in Historical Performance 3/1 (Spring 1990), pp. 19-22.

_____.  “Musical Works, Musical Texts, and Musical Editions” in Scholarly Editing (2012).

E. T. Bryant.  Part II of Music Librarianship:  A Practical Guide  (James Clarke & Co., 1959).

John Michael Cooper.  “From notation to edition to performance:  issues in interpretation” in Mendelssohn in Performance, ed. Siegwart Reichwald (Indiana Univ. Press, 2008), pp. 171-188.

Philip Gossett.  Divas and scholars:  performing Italian opera (Univ. of Chicago Press, 2006).

James Grier.  The Critical Editing of Music:  History, Method, and Practice (Cambridge Univ. Press, 1996).

Sion M. Honea.  “How to select a performing edition” in Music Educators Journal (Jan. 2002), pp. 24-27, 57.

Rachel E. Scott.  “The edition-literate singer:  edition selection as an Information Literacy competency” in Music Reference Services Quarterly (Fall 2013), pp. 131-140.

Alexander Silbiger,  “In defense of facsimiles” in Historical Performance (Fall 1994), pp. 101-104.



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