Elgar: The Concertos - Second Edition
Complete Edition Volume 32
Expected to ship in 1-2 weeks.
- Composer: Edward Elgar (1857-1934)
- Editor: Robert Anderson
- Format: Full Score – Hardcover
- Binding: Hardcover
- ISBN:
Description
Any publisher faced with the need to restore to availability a volume such as this has first to resolve a dilemma: whether simply to commission a further print run or to produce a new edition. The additional editorial work involved in the latter can usually only be justified if there is significant new material to draw upon and set before the reader, or if technical advances since publication of the first edition facilitate a substantial improvement in the way the material can be presented. On both criteria, this volume represents a significant advance, perhaps less surprising when one realises that it is now over 25 years since the First Edition was published by Novello.
In the intervening period, computerised score setting techniques have become commonplace. in line with Elgar Works' usual policy, all scores in the Second Edition have been re-originated, with one unexpected consequence: the expansion of the Violin Concerto full score from 99 pages to 201 pages. This was, to us, a cause of some alarm until we realised that in performance it results in a similar number of page turns per minute as the 107-page full score of the Cello Concerto. It highlights Novello's cramped 1912 engraving in which Elgar was complicit, used in the first Complete Edition volume but now superseded by a score of much greater clarity.
Perhaps our greater achievement lies in the treatment of the wealth of new source material, however. That for the Violin Concerto is comparatively straight-forward: a proof-copy of the solo violin part which Elgar gave to the Belgian violinist Ysaÿe allows the clarification of several points of uncertainty in the part which were highlighted in the First Edition but could not be resolved; and three interlinked final proofs of the full score which have thrown up a handful of final corrections which escaped implementation but which are of wider interest for the picture they give of the frantic late stages of the production process.
Re-editing the Cello Concerto has proved rather more illuminating. Elgar composed four complete scores -the full score, orchestral parts, cello solo part, and a cello and piano arrangement – in parallel under considerable pressure, all deriving from an early short score largely compiled from separate sketches (an early example of cut-and-paste). The four versions were eventually published in reverse order to their presumed completion. A painstaking analysis of variants between the new sources have enabled us to resolve numerous discrepancies between the different versions, enabling us in most cases to distinguish Elgar's intended changes of heart from errors arising from shortcomings in working practices leading to a failure to copy intended changes to parallel score. Our analysis has resulted in around two hundred corrections to the published score, albeit mainly Minor with many inaudible to all but the keenest ears. We nevertheless believe this makes ours the definitive edition of the concerto, and this Second Edition volume an essential purchase for all scholars, even those who already have a copy of the First Edition.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Elgar: The Concertos - Second Edition
