My interest in getting to the very bottom of a score — that is to say, to the meaning behind the notes and to the complicated relationship between different versions and copyists of a score, over which I quite frankly obsess — started when as a student I would read Bärenreiter’s wonderful critical notes to their scores (particularly to those of their exemplary edition of J.S. Bach). There is no publisher of Bach and other earlier composers who quite so thoroughly nourishes the performer from every possible musical and intellectual angle. And I’m particularly proud to premiere works by Bärenreiter’s impressive stable of living composers. Whether it’s old or new, familiar or unknown, Bärenreiter’s name is what I want to see on my score.
Commissioner of Miroslav Srnka’s “Standstill”, concerto for harpsichord and orchestra (2022)