Without Bärenreiter Urtext editions, my work as a conductor would simply be much less enjoyable.
It is with a sense of clarity, overview, warmth and trust that I musically find my way through a Bärenreiter Urtext edition. I love the clear structure, which excels by a not only well-presented, but even musical and as such musically conveying notational layout on the page. This inspires confidence and strengthens intelligent music-making. And thus I learned Schubert, Beethoven, Mozart and Haydn. What a luxury. Even turning the pages is much more organic than in other editions or in self-produced sheet music. And in terms of content, I would not and could not do without this wonderful catalogue: For years I have been conducting a cycle of Mozart and Haydn symphonies and here I am guided in the sensible direction by the fantastic work of the Bärenreiter team. Privately, I love to use the facsimile editions of the Mozart autographs to understand the operas anew, to interpret details and to form a new picture of the music. And the baroque Urtext editions are simply sensational. A tip: The Corelli Sonatas op. 5 with a historical continuo realisation and many ornaments by baroque Corelli interpreters are an indispensable document for instruction, sensibility and the stage. Bravi e grazie!
Recorder Player, Conductor
Professor at the Hochschule für Musik, Nuremberg
Director and Professor at the Gstaad Baroque Academy in collaboration with the Gstaad Menuhin Festival & Academy
Artistic Director of the Stockstadt Recorder Festival
“Baroque Music Director” of the Zurich Chamber Orchestra
President of the Swiss Youth Music Competition