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Complete edition (continuation)
The idea of producing a complete edition dates back to Beethoven
himself.More than other composers he was concerned that all of his
works should be
published and free of mistakes. During his last years Beethoven
increasinglycommitted himself to a project to publish an authorized
version of his completeworks. With Beethoven's support the Viennese
publisher Haslinger had a largecollection of copies made - the
so-called Rudolph collection -, which is today
held in the archive of the Gesellschaft der Musikfreunde in
Vienna. Plans topublish a larger collection of works, including
study scores, with a correctmusical text for the performer came up
for several times, but all the projectsremained uncomplete at the
time.
The "old" Beethoven complete edition, published in Leipzig by
Breitkopf &Hrtel between 1862-65 (supplemental volume 1888),
was a milestone as faras scope, desire for correctness and use for
musical practice was concerned. In
spite of her historical impact the nineteenth century edition
does not reflect themodern state of research and present day
demands.
The Beethoven-Archiv is the general editor of the new
scholarly-criticalComplete Edition of Beethoven's works. It
comprises all of his completedoutput, including early versions and
authentic arrangements; larger fragments
and more extensive sketches are also taken into account. The 56
volumesintended for the complete edition are arranged according to
genre. The firstvolume was published in 1961 and since then, about
two thirds of them havefollowed.
The scholars working on the complete edition are employees at
the Beethoven-Archiv as well as external editors, who work in close
cooperation with those in
Bonn. Their task is to deliver a scholarly edition of the
musical text and tocomplement it with a critical commentary,
illuminating and justifying theproblems concerning the edition.
Amongst the most important sources areBeethoven's autograph scores,
autograph copies by professional copyists whichBeethoven checked
for accuracy, as well as original editions published duringthe
composer's lifetime. In addition comments Beethoven made in letters
and
his correction lists are taken into account. It falls to the
scholar to examinethese sources, to understand their genesis and
relationship to each other andto assess their significance. The
editorial guidelines, revised in 1991 toincorporate the experiences
to date, offer insight into the working methods of
the editors and the problems encountered in the Beethoven
edition.
The aim of the new complete edition, published by G. Henle
Verlag, is to
document the complexity of the sources and their interdependence
in a criticalapparatus and to shed light on the different editions
of the work in question.
Only a scholarly-critical complete edition can offer insight
into the differentversions and variant readings. Thus musicians
will be provided with theinformation necessary to enable them to
reach decisions regardinginterpretation. In this way music research
can be of service to musical practice.
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