Project
The NEW SCHUBERT-EDITION aims to provide a text that shall be able to serve both musicological research and practical performance. Apart from the representation of one or several sources, and the description of these in the critical appendices, the edition seeks to make Schubert's actual intentions clear — as far as the sources provide such information. Moreover, it is an attempt to acquaint the present-day performer with contemporary idiosyncracies and early 19th-century 'rules'.
Schubert's Autographs
Autograph versions of most works have survived. It is not so easy, however, to interpret Schubert's way of writing, although it appears to be unmistakable: most surviving autographs are first drafts, but there are hardly any fair copies of his works. Many examples show that the musical shape of an idea was developed in the process of composition. In order to achieve an adequate representation of Schubert's actual idea, the editor often has to conclude from the ending of a piece what the beginning might be like. Quite often, however, Schubert's notation of a musical thought is precise only in the beginning. The hurried process of notation then produces conventional, often inadequate markings. In that case, the editor has to do the opposite job and draw conclusions from the beginning of the piece. Whatever he finally decides, he can only rely on the tools of musical analysis and the detailed knowledge of Schubert's manuscripts.
Copies and Prints
Most manuscript copies and prints represent the text itself correctly, but the phrasing, accents, articulation markings etc. (which are hardly less important for the composition and its interpretation) are often inaccurate. It is necessary to compare as many different sources as possible in order to straighten out distorted musical articulation. Sometimes the editor must subdue his own habits and preferences: one's own concept of a certain work is often twisted, because most current editions are based on respective first editions of lesser quality.
Variants and Versions
Due to various autographs and copies, there are several, sometimes very different versions of many Schubert compositions, mostly songs and dances. These variants are either the result of a revision by the composer (sometimes the copies of single parts are more coherent than the score), or the result of revising a song for a certain singer. One case reflects the genesis of a work and Schubert's compositional procedures, while the other mirrors the possibilities of performance and adaptation customary in Schubert's time. Therefore, the NEW SCHUBERT-EDITION offers the possibility to compare different versions of a work: depending on the significance and length of a work, variants appear as alternatives to the main text, or are mentioned in footnotes. The most important ones are printed in full. Some very well-known compositions, such as Erlkönig or Die Forelle, are printed in several versions with a special emphasis on differences in detail. Present-day performers shall thus be encouraged to study alterations and ornaments that were common practice among Schubert's contemporaries. For that purpose, embellished versions and compositions for special occasions have been added to the appendices — as long as they have their origins in Schuberts vicinity and are — at least presumably — authorised by the composer.
The Grouping of Works
The NEW SCHUBERT-EDITION is subdivided into genres. The works are presented in chronological order — with the exception of Schubert's songs. The songs that were published when Schubert was still alive appear in the order that the composer himself has chosen — for the first time since the publication of the first editions. It has often been assumed that Schubert's songs have been arbitrarily put together, but there is evidence that their grouping follows clearly discernible principles. On this topic compare Walther Dürr's Essay): Die Lieder-Serie der Neuen Schubert-Ausgabe. Zu Schuberts Ordnung eigener Lieder, in: Musica 40 (1986), S. 28-30.
Quellen und Lesarten — Kritische Berichte
The concept of a critical edition that is not confined to a mere reproduction of sources, but aims at a faithful rendition, requires editorial measures that cannot always be marked. For a practically oriented edition it is not enough to document such measures only in the separate Kritischen Bericht (Critical Commentaries), so they are also listed in the appendices Quellen und Lesarten (Sources and Readings). This enables the player or singer to make decisions deviating from the editor's views. Furthermore, the Quellen und Lesarten provide an insight into the genesis of works (Schubert's own corrections) and a short description of the relevant sources. The Kritische Bericht contains readings and annotations of lesser significance, but also minute descriptions of handwritings, and the evaluation of sources. This information is mostly relevant to researchers and specialists and less important to the broader public. Hence the Kritische Berichte appear in "print on demand", published by the Internationale Schubert Gesellschaft; you can order them via your local bookseller.
(Translation: Kilian Eckle)
