First, all of
the sources used in preparing the edition should be identified, whether
printed sources or manuscripts.
Next, all original
material should be noted, including the original composer, original
title (in the original language), the opus number (if any); and the
original instrumentation. If a figured bass exists in the original
it should be included with the figured bass numbers as well as any
original realizations. The original text should be provided
in addition to any translations or adaptations, and the author, translator,
source and liturgical use of the text (if appropriate) should be
identified wherever possible.
Then, (and most
important) the editor should clearly distinguish in the score exactly
what exists in the original source(s) from what he/she may have added
or changed. There are several methods of doing this including
the use of performance notes, incipits of the original notation,
indicating changes in parentheses, placing a slash through changes,
etc.
Because music
notation has changed over the centuries, where necessary, key signatures
(mode indications), time signatures (mensuration signs), rhythmic
units, clefs, and other features of older notation should be modernized. When
done, however, an incipit showing the original notation should be
included and a description of the changes should be included in a
performance note.
Conductors should
avoid editions that include anachronistic notation, especially if
not identified clearly as added by the editor. Renaissance
works, for example, do not as a rule have any dynamic markings in
the original scores. Thus, when found in modern scores, invariably
they are added by the editor. Renaissance works did not have
bar lines in the original scores (in fact, almost all works were
printed in separate part books that include the music to only one
part!). When bar lines are included, they are a modernization
and "may"
lead to performance implications not found in the original. Furthermore,
crescendo and decrescendo markings did not exist during the Renaissance
or Baroque periods of music history. When found in a modern edition,
again, the conductor should know they have been added by the editor
whether indicated as such or not!
Finally, you
should know that for many famous pieces of early music, several editions
exist. Since publishers have very differing academic standards
for their publications, don't just accept the editions available
at the local music store. [To see if other editions are available,
consult Sacred Choral Music in Print and Secular Choral
Music in Print, part of the Music in Print series published
by Musicdata.] You may have to go to a good research library
to find these books, but you will find it well worth the effort to
consult them.
When you find
publishers that follow the guidelines above, seek out their publications
for editions of other early works. Then, as your understanding
of performance practices of early music increases, you can make informed
and reasoned decisions about whether the editorial markings that
have been added to the original score should be followed religiously
or altered to conform to your own understanding of how early music
is to be performed. The study of performance practices is an
ongoing process, and one that can be very exciting and rewarding
for any conductor.