PF-2093

EDITORIAL NOTE
Introduction
The aim of the editor is to reproduce the notes handed
down in a manner as close to their source as possible. Due to
the practical usability of the desired edition, however, just a
few scrupulous interventions were given priority over a pure
transcription of the source material. All the additions of the
editor have been marked in the notes by brackets; emendations
and conjectures are quoted and discussed in the Critical
Commentary.
General Information
Work titles and headings are notated in modern form;
the original indications are disclosed in the Critical Commentary.
Movement headings and designations have been
retained, but their spelling has also been modernised.
Emendations appear in brackets, and original indications
are given, where appropriate, in the Critical Commentary.
For reasons of practicability, the individual movements of a
work are numbered consecutively, the counting of bars beginning
anew with each consecutive individual movement,
whereby it should be expressly pointed out that numbering
does not occur in the source, and the counting of bars only
in extremely rare cases. The arrangement of the score has
been chosen as follows: brass and tympani – woodwinds –
strings – vocal parts – continuo/thoroughbass part. Within
each movement or piece, the number of staves remains the
same. Scoring indications are indicated at the beginning of
each movement in modern Italian. If they differ, original
indications appear in the Critical Commentary. The clefs
are reproduced according to the source; there is an explanation
attached to those parts in which the notation deviates
from the source. If a part has merely been reproduced in
a modern clef, the original clef is simply indicated without
any further explanation. This largely applies to vocal parts,
which are generally indicated in the modern, present–day
clefs.
Notes and Signs
Note values are reproduced in accordance with the source.
The original metre signatures have been retained. The barlines
have been modernised to the extent that the connected
great staves of the score – strings, winds, vocal – are clarified.
Double bars and similar signs are unified in the customary
form used today. Individual missing bar lines have
been tacitly added. The barline determines both the division
and connection of note values extending beyond the boundary
of the bar due to a dotted value or similar notation in the
source. Slurs are reproduced as they appear in the source;
completions appear in the form of dotted lines. Additions
for reasons of analogy have been undertaken as sparingly
as possible and also appear in the form of dotted lines.
Performance instructions, tempo indications, articulation
and dynamic markings have been reproduced in the same
way (for example “Allegro” instead of “allegro” or the antiquated
spellings “alleg.”, “all.”, etc., “p” instead of “piano”,
“p:”, “pian”, etc.). Additions by the editor (e.g. for reasons of
analogy), however, appear in brackets. Ornaments are reproduced
in accordance with the source, but have been typographically
adapted to modern habits (e.g. Ÿ instead of „t.“).
Where they have no definite articulatory character, the
beams have also been adapted to modern notation, in which
no definite articulatory character is ascribed to them. Final
fermatas have been tacitly added in all parts, as long as they
can be found in at least one part in the source – and unambiguously
placed there.
Accidentals and Keys
The original key signatures have been retained; deviations
from these appear in the Critical Commentary and
are, moreover, apparent from the attachment. Transposing
instruments generally remain within the notated range; deviations
are also indicated in the Critical Commentary and
as an attachment. Accidentals always apply to the entire bar,
according to standard practice. Isolated accidentals that
redundantly appear within one and the same bar in the
source have therefore been tacitly deleted. The resolution
of accidentals within a bar, taken for granted as known in
the notation of the 17 th and 18 th centuries and therefore not
expressly notated, has been complied with by carefully adding
(warning-)accidentals in brackets. Those accidentals
which apply over the bar line are also in brackets. Warning
accidentals, on the other hand, which are for the most part
editorial additions because they hardly ever occur in the
source, appear in normal print but are placed as scrupulously
as possible. Sharp () and flat () accidentals that have the
function of a natural sign () are tacitly notated as such.
VII