Abstract
AbstractI first performed Salut für Caudwell (1977) at November Music in Den Bosch, two and half years ago. The festival celebrated Lachenmann's eightieth birthday in grand style, and the composer himself attended. During a backstage chat, Lachenmann, whom I've known for around 20 years, casually hinted that there were things ‘missing’ in the print edition of the work, published in 1985: that is, that performative information in the fair copy was not fully reproduced in the print edition. At that moment, my curiosity was piqued intensely, and the seed of a new edition was planted. While I understood the formidable challenges involved in properly preparing the part, rehearsing, and traversing this Everest of the guitar literature, I was not fully prepared for the astonishing array of hazards that awaited me. This article describes the labyrinth of sketches, drafts, and score iterations I encountered in beginning to prepare a new edition of Salut for Lachenmann's publishers, Breitkopf & Härtel.
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