 Next to me is Norbert, Dr. Norbert Müllemann, our chief editor. And in this position you are my grandson. Oh, really? Yes, yes, yes. Because in the 1990s I was chief editor before I became the general manager of Handler. And in those years already we found out that some of our Urtext Edition needs to be revised. So this is the topic for the next 10 minutes. We are going to talk about revised Urtext Edition. Next question to you Norbert, what is it a revised Urtext? Good question. I think revised is not such a good term because revised suggests it's just minor changes might have been made when we issue the new edition. But actually a revised edition is a complete new edition. We do the music engraving new. We find a new editor. We find a new artist to provide fingering. We write new texts. So it's a complete new bundle and it's not just minor changes. So revised means is a new edition and the old edition disappears from the Handler catalog. Exactly. That's what it is. That's maybe surprising for our customers because you may play from an old edition where already a new edition exists. And you may think that Urtext, especially from Handler, is kind of carved in stone for eternity. But it isn't. I think it is. I think Urtext doesn't really have an expiry date or it doesn't become outdated. For example, I myself, I still play from an edition from the 1960s from Bach's Well-Tempered Clavier because my father gave it to me. And in the meantime, this edition has been revised. But I still think I'm playing the correct work and the correct notes. So the core of the edition doesn't change. But what changes is maybe what I would like to call the context of the Urtext. So this might happen when either in new source surfaces, when you find a new source. What is a source? A source is the basis of our Urtext editions. It's like an autograph or a first edition is what we copy the text with. Either we find a new source or our view on the sources actually changes or interpretation of the sources changes. And in Bach's case, this is exactly what happened. There were no new sources, but we know a lot more about how Bach notated. We know about the different stages of notation. So knowing all this, the new edition actually gives what Bach really intended. So you should actually play from the revised edition and not as I do from the old edition. So this is the case where it's not new source. Maybe you have another example where new source come up to life. Yes, actually quite spectacular because like 15 years ago, the autograph manuscript of Beethoven's Grand Fuke was discovered. And we were able to consult it and we figured out our edition, which was based on the first edition before, needed to be changed in many, many ways because the autograph has much more information, which we had to document in our edition. I see. I think the audience may be interested in an example. One example where you can really hear audible changes. Maybe you have something prepared for us. Yes, I do. I'm working on Chopin's Sonata and B Minor right now on a revised edition. Very famous work. Very famous work. Every pianist does it. Chopin left us quite a mess of sources. He published it in three different versions. Among these three versions, two of them are actually the best ones, the two we have to focus on. The first one is according to the autograph manuscript. And the second one is according to the French first edition. And there are hundreds of differences between these two editions. And I would like to play one example for you. It's from the first movement and it's a short transition passage. I'll just play it for you according to the autograph version and then according to the French first edition. Very nice. Let's go to the piano. So this is the version we all know from the autograph. And this is how it sounds in the French first edition. Let me just play it again because it's so unusual. Wonderful. Yeah, it's completely different. It is. Actually, it's nothing new because people knew about the French first edition before. But editors always thought that's an inferior version. It's not as good as the other one, maybe because we are just not used to it. But I have a different view because in my edition I want to use the French first edition as the basis, as a primary source. Why? Because it's the one Chopin actually proved read. He read proofs for the edition and he used it in his lessons. His students played from it. It's his last word. It's his last word and that's why I think I have to use it. I understand. Very impressive. So it's already on the market? Not yet, but that's soon. I think mid-year everybody can buy it. But talking about famous revisions, I think you also had a very famous case a couple of years ago. Exactly. The Mozart's famous Allatorca sonata, Cologne 331. It was one of the highlights in my life of being a word text editor. I wrote three articles in the Handler blog about it. And if you are interested in details, please check out the Handler blog. For this little talk I prepared only one passage to show the listeners one example which can really hear the differences between the former Old Handler Urtext and the newly revised edition which has the order number HN1300. So to make it short, about 10 years ago, a part of Mozart's autograph came to light in the National Library of Budapest. And it was immediately clear that we have to revise our Urtext. Of course. Because the only source we had until this moment was the first edition from 1784 Vienna Artaria, nothing else on primary sources. And when I compared both sources it was clear that I have to revise. And two years later there come another primary source. What a nightmare. A nightmare and really something I had to look at. So these two handwritten documents compared with the first edition showed clearly that the main text of the first edition is correct. But there are wrong words. Yes. Maybe a handful. And one of these examples I'm going to play on the piano to show the audience. It's in the slow variation of the first movement. You all know this. I play it now like we all know and are used to play. And now I play this passage according to my revised edition, according to the autograph version, which is clearly correct and wrong in the first edition. Fascinating. It's much more witty in the autograph version. Yes. It's much more mature. Yes. So if you still have the old edition of Handlers A major sonata, make sure to buy the new one. I will. Of course. Please. So how many revisions are you working on per year? Do you have an overview? I do when I prepared for our interview. Yes. And actually I was quite astonished about the number. Because I think it's about 6 to 10 revisions we publish per year, which makes like 10 to 15% of the total output of our editorial department. So that's quite a lot. Yes. And I was wondering why is that so? And I think it's also because we are becoming 75 years now. We are celebrating our anniversary. 75 years. And this means we also have a history of 75 years in musicology. So a lot happened in a scholarship. And I think we have to take this into account when we look at our old text editions. Am I right? If I say other publishers, our friendly competitors do not revise so often. Why? You are right. And I think it's, if I may say so, I think it's about expenses. Because you invest a lot into a revised edition. You have to find a new editor. You have to pay him. You have to pay the new artist. You have to pay for the music engraving. So you invest a lot, a lot of money and a lot of time. And in the very end, you just have the same composition again in your catalog. So it's nothing really new. And other publishers don't focus exclusively on urtext. But that's our profile. And I think that's our responsibility to keep our urtext editions always updated. I think that was a perfect last word from Norbert. Thank you for listening. Thank you for the nice talk with you. Thank you.