»What is important for a musician is to be able to spend rehearsal time on the music itself, without the hindrance of trying to decipher it.«
Sir Simon Rattle

Edition ReVision is an editorial series offering frequently played works and out-of print works in carefully redacted new editions.

Until today, even the popular works of the classic orchestral literature – provided they are not already published in critical editions – are not available in reliable editions. Actually, very significant operas are still performed from outdated first editions reprinted over and over again. In that regard misprints and discrepancies between full scores, piano reductions and instrumental parts are often observed. Entire generations of dedicated and experienced conductors and orchestra librarians arranged the performance material on a local basis to overcome these shortcomings. These days, often the time to do so is simply not available. In the worst-case scenario, valuable rehearsal time is lost or the performances weaken slightly at specific passages, because the performance material is vague or wrong.

Edition ReVision has set itself the target to change this for at least some works, especially opera arias (if necessary, with instrumental introduction and concert ending). The performance material is constantly adjusted and will be provided sometimes in various versions and keys. Edition ReVision is characterised by high-quality typesetting according to modern engraving rules and optimised for good sight-reading. The result is comparable with Clean Code. The term stands for intuitively understandable source code in software engineering.

A high standard of quality has always been the measure of Compofactur Musikverlag editions. This editorial series underscores our commitment to carefully redacted music editions of high quality. In short, Edition Revision solves problems in advance and also provides you with sufficient time to make music.

Editor: Matthias Spindler
Artistic Collaborator: Prof. Wieland Reissmann – composer & arranger

Compofactur MusikVerlag provides the editions in full score with performance material as rental material.
Format: full scores DIN/ISO B4 (250×353 mm) – orchestral parts DIN/ISO B4 (250×353 mm) or DIN/ISO SRA4 (225×320 mm)

Already published editions

Massenet Ave Maria sur la Méditation de Thaïs Mezzo-Soprano Score Cover
Composer: Massenet, Jules (1842–1912)
Lyricist: Anonymous
Edition/Transcription: Spindler, Matthias (*1963)
Opus: Ave Maria sur la Méditation de Thaïs (Concert Version)
Scoring: Mezzo-Soprano – Choir (SATB) – Organ (ad lib) – Solo Violin – Orchestra
Instruments: 2 Fl · 1 Ob · 1 EHn · 2 Cl (A) · 1 Bs Cl (Bb) · 2 Bsn · 1 CBsn – 4 Hn (F) – Timp – Hrp – Str
Key: D major
Duration: 06:00

 

Massenet Ave Maria sur la Méditation de Thaïs Soprano Score Cover
Composer: Massenet, Jules (1842–1912)
Lyricist: Anonymous
Edition/Transcription: Spindler, Matthias (*1963)
Opus: Ave Maria sur la Méditation de Thaïs (Concert Version)
Scoring: Soprano – Choir (SATB) – Organ (ad lib) – Solo Violin – Orchestra
Instruments: 2 Fl · 1 Ob · 1 EHn · 2 Cl (A) · 1 Bs Cl (Bb) · 2 Bsn · 1 CBsn – 4 Hn (F) – Timp – Hrp – Str
Key: D major
Duration: 06:00

 

Massenet Ave Maria sur la Méditation de Thaïs Mezzo-Soprano Score Cover
Composer: Massenet, Jules (1842–1912)
Lyricist: Anonymous
Edition/Transcription: Spindler, Matthias (*1963)
Opus: Ave Maria sur la Méditation de Thaïs (Concert Version)
Scoring: Mezzo-Soprano – Choir (SATB) – Organ (ad lib) – Solo Violin – Orchestra
Instruments: 2 Fl · 2 Ob · 2 Cl (Bb) · 2 Bsn – 4 Hn (F) – Timp – Hrp – Str
Key: D major
Duration: 06:00

 

Massenet Ave Maria sur la Méditation de Thaïs Soprano Score Cover
Composer: Massenet, Jules (1842–1912)
Lyricist: Anonymous
Edition/Transcription: Spindler, Matthias (*1963)
Opus: Ave Maria sur la Méditation de Thaïs (Concert Version)
Scoring: Soprano – Choir (SATB) – Organ (ad lib) – Solo Violin – Orchestra
Instruments: 2 Fl · 2 Ob · 2 Cl (Bb) · 2 Bsn – 4 Hn (F) – Timp – Hrp – Str
Key: D major
Duration: 06:00

 

Editorial Principles

  • All of the available and relevant sources are subjected to critical examination and assessment.
  • Errors and inconsistencies in the sources are tacitly corrected and adapted to conform to modern practices.
  • Editorial insertions and emendations are distinguished typographically as follows (exceptions are possible in the case of transcriptions):
    – Dynamics, wording, etc. by square brackets;
    – accidentals and cautionary accidentals by round brackets;
    – notes, rests, pauses, accents by square brackets;
    – slurs and hairpins (crescendo and decrescendo) by broken type optionally by round brackets.
  • Both the disposition of instruments in the score and the notation (incl. choice of clefs) will be in line with modern notational practice.
  • Ornaments are adapted to modern typographical usage as far as possible.
  • Vocal texts are given only in the original language to which the music was set and in modern orthography and are also printed separately.
  • Shorthand signs for repeats, abbreviations as well as colla parte, simile and coma sopra instructions will be omitted and the text given in full without further comment.
  • The instrumental and vocal parts are designated in Italian.
  • Tempo markings and performance instructions are made, as far as possible, in Italian.
  • The parts are largely optimised to the possibilities of modern orchestral instruments (e.g. french horns and timpani).
  • Percussion instruments of indefinite pitch are notated on a single line each.
  • Bar numbers and rehearsal marks are often editorial.

Contact:
Compofactur MusikVerlag
Matthias Spindler
Fon   +49 (40) 22 69 50 24
eMail servicecompofactur.com