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Musicians have feuded for decades as to the validity and interpretation of a certain edition, as well as the correctness of early editions versus the correctness of later editions. The purpose of our editions is to eradicate these disputes and errors. Unlike previous editions, we excel by providing universal tempo markings and definitions of musical terms, as well as providing clearer notation, no errors and durable spiral bindings when necessary.

Our publications convey the intentions of the composer and restore and preserve the notation of the earliest known editions. Errors are simply corrected, however changes are based on what we can only assume the copmoser did based on  other works. These changes are in marked throughout our editions. 

Previous editors have made changes to in an attempt to facilitate the mechanics of the various intruments. These changes are notated in small print, making them clearly optional. It is our belief to bring to the music community something that is what the composer intended in it's purest form as can be presumptuous to "correct" or "over-edit" their work. 

The music community is, however, a live entity, and ultimately it is the community that shapes the music. Some would refer to this as "performance practice," but it is a much larger idea entirely. The aim of The Complete Works is to provide a product that the music community can be actively involved in improving and to produce the finest, most extensive and most authentic edition of thea publication to date.


Should you, the musician, feel that you have found an error, simply send an email or write  to The Complete Works, and the issue will be promptly resolved in the next printing.


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