Dear customers, we would like to inform you that due to the current situation concerning the novel corona virus, exit restrictions have been imposed in Austria. For this reason we kindly ask you to send all requests in written form to [email protected]. Of course, you are still welcome to use the various contact forms on our website and place orders online in our webshop. We ask for your patience in case we are not able to process your requests at the usual speed - due to legal regulations, companies in Austria are currently only able to operate at reduced capacity. However, we would like to assure you that Universal Edition will continue to look after its customers in times like these. Best regards, your Universal Edition team.
The new critical and practical edition of Sinfonietta reflects all existing sources, including those recently discovered during the work on the edition. It is primarily based on the transcription of the score that was used to stage the premiere and then served as a print template. The transcription was subjected to the first press release, and contained the premiere manuscript orchestral voices, autograph and corrections. In principle, Sinfonietta is restored to the premiere version of 1926, when it was staged with the Czech Philharmonic Orchestra conductor Václav Talich.
However, the edition reflects some of the composer's wishes that were not taken into account at the premiere due to technical reasons and then did not make it into the edition (e.g. 12 trumpets used in the second sentence). The notes also point to the additions made by Václav Talich to the instrumentation. The use of these additions, which made it into the first edition, are thus at the discretion of the conductor. Elimination of errors and inaccuracies, which arose already in the transcription, when the copyist Václav Sedlá?ek inaccurately or incorrectly understood Janá?ek's illegible autograph, was also part of the work when preparing the edition. According to sources, the editor also added further dynamics, specified the tempo and corrected errors. In the notes, the score also makes some additions that Janá?ek tolerated, but it is not clear whether he completely identified himself with them (e.g. additions made by the conductor Otto Klemperer at the end).
The edition also includes possible solutions for problematic sound bottlenecks designed by Janá?ek's chief conductor Charles Mackerras. The edition also contains a detailed introduction, which elaborates on the genesis of the work and Janá?ek's views on interpretation of the composition, as evidenced by the sources (use of a military band, performance of a wind ensemble, type of instruments favoured by Janá?ek, etc.)