Continuing on from the previous post, this is the second in a series of posts that discuss the general principles important to those in the world of Early Music.
2. Use of autograph manuscripts or first editions
What would a Harry Potter fanatic not give for the original handwritten pages, created in an Edinburgh café, of J. K. Rowling's first novel! To see the process by which she turned her ideas into the finished product that made her a squintillionaire, to feel that closer connection to the author's thoughts. Or to have in one's hands a copy of the first edition just so you can open it and have the satisfaction of seeing "10 9 8 7 6 5 4 3 2 1" on the inside page...ahh, bliss.
When it comes to music, having access to either the original autograph score in the composer's own handwriting or the first edition can mean much more than just collector's excitement at owning something rare. In many cases, studying the original manuscript (or at least a facsimile of it) is the only way of knowing for sure what the composer wrote. This can be a significant issue if one compares an autograph manuscript with all the subsequent printed editions. It can also be a liberating experience to see editorial articulations, changes and suggestions stripped away to reveal the original notes and markings.
