Rachfan wrote:Yes, because it is easier to quantify note accuracy than artistic imagination.
It has oft been said that these days Horowitz at his best could not win a competition. That gives pause for thought.
Do I not see that here also, where a wrong note or a note held too long or not long enough are grounds for dismissal or re-recording? Do I not read endlessly here phrases such as, "I could not check with the score..." Are there not recordings submitted to this very forum considered very passable by A until such as time as A actually sees the score and states that the recording "just won't do?"
I must say I am in favour of original editions because I believe Urtext editions are a help to the pianist in that they strip away all annotations by other pianists and editors, allowing any pianist worth his salt to give his own interpretation. When confronted with a heavily.annotated edition of Bach, for example, how is the pianist to know what Bach actually wrote and what he must therefore take to be the ground on which to build? Or take Beethoven, edited by Schnabel. Now take not Beethoven, but Schnabel's view of Beethoven and interpret that. Do we have, for example, John Lewis interpreting Beethoven or do we have John Lewis interpreting Schnabel's interpretation of Beethoven?
And then, what is Urtext? Take someone like Bortkiewicz.Are not his pieces all Urtext, in the sense that he had them published once and those are the only scores in existence?