The sources for an ürtext edition include the autograph (that is, the manuscript produced
in the composer’s hand), hand copies made by the composer’s students and assistants, the
first published edition, and other early editions. Since first editions often include
misprints, a particularly valuable source for ürtext editions is a copy of the first edition
that was hand corrected by the composer. Where the sources are few, or mis-print ridden,
the conflicting task of the ürtext editor becomes difficult. Cases where the composer had
bad penmanship (for example, Beethoven), or revised the work after publication, likewise
create difficulties.
A fundamental problem in ürtext editing is how to present variant readings. If the editor
includes too few variants this unfairly restricts the freedom of the performer to choose.
Yet, including unlikely variants from patently unreliable sources likewise serves the
performer badly. Where the editor must go further out on a limb is in identifying
misprints or scribal errors. The great danger – not at all theoretical – is that an interesting,
eccentric or even inspired choice on the composer’s part will be obliterated by an
overzealous editor. Responsible editors identify with footnotes all places where the notes
have been altered in an ürtext edition.
It is plain that knowing the composer’s intent is only the starting point in the preparation
of an effective musical performance; a great deal of independent thought and practice is
necessary as well. But most musicians today would judge that the process should begin
with the most faithful version of the composer’s intent that scholarship can muster.
VIENNESE PIANOS
Piano making flourished during the late eighteenth century in the Viennese school which
included Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers,
Nanette Stein (daughter of Johann Andreas Stein) and Anton Walter. Viennese pianos
were built with wooden frames, two strings per note, and had leather-covered hammers.
On some of these Viennese pianos the notes were differently coloured from those of
modern pianos, with black notes corresponding to the present-day white notes, and brown
or white notes corresponding to the present-day black notes.
It was for such instruments that Mozart composed his concertos and sonatas, and replicas
of them are built today for use in authentic instrument performances of his music. The
pianos of Mozart’s day had a softer, clearer tone and less sustaining power than today’s
pianos. The term ‘fortepiano’ is often used nowadays to distinguish the eighteenth
century instrument from later pianos.
During 1790 to 1860 the Mozart piano underwent major changes leading to the modern
form of the instrument. This was in response to a consistent preference by composers
and pianists for a more powerful and sustained piano sound. It was also a response to the
ongoing Industrial Revolution which made available high quality steel for strings and
precision casting for the production of iron frames. The range of the piano was also
increased from the five octaves of Mozart’s day to the 7 " octaves of the modern piano.