Finnish Composer Research Articles

Music Reviews

Abstract: This article reviews the following four works by song composers of the twentieth and twenty-first centuries, two of whom created or finished their works during the COVID pandemic; Finnish composer Kaija Saariaho (1952–2023), Saarikoski Songs for Voice and Piano ; Albrecht Mendelssohn Bartholdy’s Songs for Lena (Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries) ; and Evan Fein’s “The Solitary Reaper,” and Songs of the Open Road , for mezzo-soprano, clarinet in B♭ and piano.

Klassisia muotoja persoonallisin kääntein: Erik Tulindbergin jousikvartetot op. 1 ja op. 2

This article concerns the String Quartets of Erik Tulindberg (1761–1814), who was the first known Finnish composer. Tulindberg was musically active primarily in the late 1770s and early 1780s, when he was studying at the Royal Academy of Turku (Kunglika Akademien i Åbo). He was respected as a skilful violinist and a chamber musician, playing in the Academy’s orchestra on ceremonial occasions and giving public concerts. Tulindberg’s compositional oeuvre comprises two Violin Concertos, six String Quartets and a few works for solo violin. The corpus of Tulindberg’s String Quartets is approached from two perspectives, namely conventional strategies of the Classical style on one hand, and Tulindberg’s recurrent choices as attributes of his personal musical language on the other. Widely used analytical tools are applied in studying the corpus, and the Quartets are compared with certain works that originate in the same period and reside in Tulindberg’s archive. The theoretical framework includes writings that focus specifically on describing the compositional strategies used in Classical and Pre-Classical music, the authors including James Hepokoski and Warren Darcy, Graham Hunt, William Caplin, Poundie Burstein and Danuta Mirka, among others. The discussion covers 1) the overall structure, the key design and cadences in the opening movements, all of which are in sonata form; 2) the essential harmonic traits; and 3) surface characteristics and expressive means such as topics, melodic figuration and instrumental writing. The analysis reveals that Tulindberg adopted the commonly used strategies and main expressive means of the Classical style. The attributes of his musical language include traits such as the constant use of extended modal mixture, enthusiasm for a varied rondo-form and frequent violoncello solos in the upper register. Although the String Quartets are conventional in structure, each one is individual in its construction. The stylistic correspondence between the works and those of composers such as Joseph Haydn, Luigi Boccherini and Ignace Pleyel, shows his thorough understanding of the music written by his contemporaries.

Sibelius in Japan

The Finnish composer Jean Sibelius (1865–1957) is extraordinarily popular in Japan; he is among the most frequently performed orchestral composers, and even Empress Emerita Michiko is known as a Sibelius enthusiast. This article charts the composer’s rise to prominence and investigates his reception in Japan by analyzing Japanese discourses on his music. These discourses have tended to frame Sibelius in specific spatio-cultural contexts such as Finnishness or Nordicness, frequently emphasizing his proximity to nature. While this tendency is also common to the reception of Sibelius in other parts of the world, the meanings assigned to Sibelius’s Finnishness and affinity with nature in Japan are distinct. Unlike in Western Europe, where such characterizations are deployed to imply the peripherality of his music, in Japan they serve to highlight aspects of sameness between Sibelius’s music and domestic Japanese discourses about nature. This process represents an intriguing dynamic wherein cultural meaning is negotiated at a complex intersection of two discursive spheres.

The Position of Women Composers in the World and in Bulgaria – is the Audience of Contemporary Classical Music Privileged or Deprived?

The article addresses the issue of discrimination against women in their work field, which is still relevant today. It contains an overview of the historical development of women in the composers’ profession around the world and in Bulgaria, as well as an outline of the difficulties and accomplishments of famous women composers. The obstacles in the work realization of world-renowned women composers are sought: the Finnish composer Kaija Saariaho, the Soviet/Tatar composer Sofia Gubaidulina and the Bulgarian composer Julia Tsenova. An overview of annual statistics on the presence of women composers in the world's concert halls is shown and analyzed. Statistics on the concert program in the major Bulgarian halls are provided. Answers to current questions about the impact of globalization on the audience of contemporary classical music in Bulgaria in comparison with the world state are sought. The term discrimination in the professional music field is defined and researched, and those affected are noted.

Professional education toward protean careers in music? Bigenerational Finnish composers’ pathways and livelihoods in changing ecosystems

Contemporary professional landscapes in classical music fields are rapidly changing and younger generations of musicians are confronting their creative careers, more often than not in connection to self-employment and freelancing. This narrative inquiry investigates the pathways and livelihoods of composers in a changing professional ecosystem through interviews with 10 bigenerational composers in Finland. The analysis is presented in three “factional stories,” in which the empirical material is crafted into “fictional form” by an anonymous first-person narrator. The stories depict how the secure, traditional careers of the older generation are found to be bound to traditional orchestras and ensembles, whereas the protean careers of the younger generation of composers involve passionate pathfinding amid pluralizing ecosystems, within but also beyond traditional contexts and through various collaborations. The younger composers are expanding significantly, or consciously distancing themselves from, the traditional model and values of a contemporary composer. Competition is found to be increasing and professional education described as too short and insufficient in its concentration on technique—this does not provide new understandings and skills beyond traditional composing craft needed for navigating the profession and securing livelihoods. Although similarities are found in the pathways of both composers’ generations, such as strong career callings and experiences of luck, the “struggle” for a composer to find a place in society is more strongly experienced by the younger generation, for which the development of an ongoing “learner identity” is required to embrace—and not resist—such a challenge. As a whole, the study provides a new understanding of composers’ pathfinding through changing ecosystems and suggests that traditional and protean music careers co-exist—even within a single person—while they can also be clearly separated from each other. The study informs higher music education programs in Western countries.

”Yhteinen henkinen tila”

The fame of the Finnish composer Yrjö Kilpinen (1892–1959) in Nazi Germany was evident in newspapers and classical music magazines. In this article, I examine how Nazi propaganda was constructed in German newspaper articles related to Yrjö Kilpinen from 1934 to 1944.
 Since the end of World War II, questions have lingered regarding Kilpinen’s associations with the Third Reich. As a member of Nazi cultural organisations such as Ständiger Rat für internationale Zusammenarbeit der Komponisten and as a friend of baritone Gerhard Hüsch, Reich Chamber of Music’s vice president Paul Graener and Ständiger Rat delegate Emil von Reznicek, Kilpinen made a career in Germany that was at its peak from 1934 until 1944. This article examines how Kilpinen’s fame was viewed in the press.
 I suggest that the Nazi newspaper articles did not highlight Kilpinen’s status as an independent artist but instead focused on building a common national identity between Finland and Germany, based on National Socialist journalists’ and Kilpinen’s perceptions of Finnishness and national socialist ideology. This study is based on the discourse-historical approach, which maintains that national identity is formed in discourses of identification, solidarity and differentiation. The central aim of the study is to identify the discursive strategies whereby the connection between Finland and Germany was built.
 The research material consists of eleven Nazi Germany newspaper and magazine articles about Yrjö Kilpinen. In the analysis, two discourses emerge that emphasize similarity between Finland and Germany: 1) Nordisch and 2) Volk and völkisch. With these discourses, the press aimed to build a common national identity by linking National Socialist ideology to Finland and Yrjö Kilpinen.

Encoding Post-Spectral Sound

This article examines computer-based music (ca. 1982–87) created by Finnish composer Kaija Saariaho at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. A detailed account of archival materials for an early étude in voice synthesis,Vers le blanc(1982), demonstrates the music-theoretical import of software to Saariaho’s development of a robust compositional method that resonated with the emergent aesthetics of a post-spectral milieu. Subsequent analyses of two additional works from this period—Jardin secret II(1984–86) for harpsichord and tape, andIO(1987) for large ensemble and electronics—serve to illustrate Saariaho’s extension of this method into instrumental settings. Specific techniques highlighted include the use of interpolation systems to create continuous processes of transformation, the organization of individual musical parameters into multidimensional formal networks, and the exploration of harmonic structures based on the analysis of timbral phenomena. Relating these techniques to the affordances of contemporaneous IRCAM technologies, including CHANT, FORMES, and Saariaho’s own customized program, “transkaija,” this article adopts a transductive approach to archival research that is responsive to the diverse media artifacts associated with computer-based composition.

«Истинный огонь» Кайи Саариахо: поэтика композиции

Finnish composer Kaija Saariaho is one of the most prominent figures in contemporary music culture. She became known to the general public after the triumphant premiere of her Love from Afar opera (L’amour de loin, 2000), held at the Salzburg festival. The article is devoted to another work of the composer — the vocal cycle True Fire (2014), which was also successfully received by critics and the public, but has not yet been the subject of a separate study. This work is the first experience of its analysis, focused on both its musical and literary components, which led to the conditional division of the article into two parts. The composer, by her own admission, sought to demonstrate in the cycle the rich palette of colors of the world-famous Canadian baritone Gerald Finley for whom the composition was written. In addition, in True Fire through the texts of R.W. Emerson, M. Darvish, S. Heaney and the lullaby of the Tewa Indians, which became the literary basis of the work, the author’s ideas of a different order are embodied. What they are and how they are reflected in music are the questions that we tried to answer in this article.

О СОЗДАНИИ «NOANOA» И «PRES» – ДВУХ ПЬЕС ДЛЯ СОЛИРУЮЩИХ ИНСТРУМЕНТОВ И РАБОЧЕЙ СТАНЦИИ ОБРАБОТКИ СИГНАЛОВ (IRCAM) (Ксавье Шабо, Кайя Саариахо, Жан-Батист Баррьер)

This article is a translation of a musicological work written by the Finnish composer Kaia Saariaho with sound engineers Xavier Chabot and Jean-Baptiste Barrière from the Ircam. The study describes two solo pieces – «NoaNoa» and «Près» – one for flute, the other for cello, realized during 1992 by Kaija Saariaho with the Ircam Signal Processing Workstation (ISPW, based on the Next computer) and with Xavier Chabot from the Ircam Pedagogy department. These works are created in the pedagogical perspective to explore the potentialities of Max on the ISPW, and specially its connexion with Patchwork used to prepare data and patches. In the two pieces, the electronic parts amplify and develop the sonic structure of the solo instrument, exemplify the close relationship between sound material and musical structure, and explore real-time strategies for control over various synthesis and signal processing algorithms.

«Свободная пульсирующая композиция» Лейфа Сегерстама как индивидуальный алеаторный проект

This article is devoted to the characteristics of “freely-pulsating composition.” This technique has been developed in the works of Leif Segerstam – a significant Finnish composer and conductor. Segerstam’s creativity astonishes by its extremely prolific quality. The composer wrote more than three hundred symphonies and also numerous compositions in other genres. Such artistically creative activity has been stipulated by those principles of composition which the Finnish composer has developed. Their formation and evolution took up over two decades. The “freely-pulsating phase” was initiated by Segerstam in the mid-1970s, while all the basic features of the composer’s technique were formed by the late 1990s. In its final variant, the method of “free pulsation” became connected with the sphere of the symphony: it has been demonstrated by musical compositions written since the early 2000s. These symphonies are essentially one-movement sonoristic compositions, generally, all of them of the same duration and performed without a conductor (in Segerstam’s words, they rely on an “built-in conducting mechanism”). Their musical texture is based on an aleatory counterpoint, in which the various instrumental parts are synchronized loosely. The form of symphonies consists of several (from 5 to 8) blocks, in which there is an alternation of more and less controlled sections. In general, the features of “freely-pulsating composition” make it possible to consider it an individual version of aleatory techniques and to see its preimages in the American music from the 1960s, with the works of Earle Brown and Christian Wolff. Keywords: Segerstam, aleatory technique, aleatory symphony, freely-pulsating composition, built-in conducting mechanism.

New Finnish Music: an Interview with Juhani Vesikkala

We are offering you an interview with Finnish composer Juhani Vesikkala. The conversation took place on August 26, 2017 in Helsinki, during Dr. Anton Rovner’s trip to Finland.

Avatar of Modernity: ‘The Rite of Spring’ Reconsidered by Heidy (eds) Danuser, Hermann, and Zimmermann Stravinsky and His World by Tamara (ed.) Levitz (review)

REVIEWS 759 opera, Monna Vanna. Orientalism crops up in Natalia Braguinskaia’s article on Igor´ Stravinskii’s Nightingale, just as it does in Irina Kotkina’s introduction to debates around Soviet opera in the 1930s. The Russian-themed articles are not solely confined to issues of nationalism, however. Louisa Martin-Chevalier looks at the revolutionary aspirations of the Proletarian music movement, Suzanna Kassian explores the life and work of Boris Asaf´ev, Tetiana ZolozovaLe Menestrel considers the absurd in Shostakovich’s Nose, and Anne Swartz examines how Russia’s embrace of the piano was facilitated by the court during the rule of Alexander I. Alongside these Russian topics, there are articles on the operas of the Serbian composer, Petar Konjović (by Jelena MilojkovićDjuri ć), a comparison by Anetta Floirat between Karol Szymanowski’s opera, King Roger, and its source text of Euripides’ Bacchae, and a survey by Vera Nilova of how early-twentieth-century Finnish composers drew on French music for inspiration. This motley baker’s dozen of articles is, like many edited collections, uneven in quality, and there is much here that will already be familiar to specialists, although in its diverse line-up of authors and topics, it nevertheless gives a useful snap-shot of current scholarly priorities in the field of Russian and Eastern European musicology. Wadham College, University of Oxford Philip Ross Bullock Danuser, Hermann, and Zimmermann, Heidy (eds). Avatar of Modernity: ‘The Rite of Spring’ Reconsidered. The Paul Sacher Foundation and Boosey & Hawkes, Basel and London, 2013. 501 pp. Illustrations. Music examples. Tables. Notes. Chronology. Bibliography. Index. £56.00. Levitz, Tamara (ed.). Stravinsky and His World. Princeton University Press, Princeton, NJ and Oxford, 2013. xvi + 368 pp. Illustrations. Music examples. Notes. Index. $35.00: £24.95 (paperback). For many historians of twentieth-century music, Stravinskii simply is the world, just as he stands, pars pro toto, for many of the most important manifestations of modernism and modernity. Well-travelled and equally wellconnected , his influence can be traced across movements and continents, and a vast body of critical and biographical literature has illuminated almost every aspect of his life and work. Readers might well wonder whether there is anything new to be said about the composer, yet on the basis of the two volumes under consideration here, it is clear that untapped sources of biographical information remain to be discovered, and that scholarship is capable of innovative and surprising gestures that reframe our understanding of an all-too-familiar figure. In this respect, Tamara Levitz’s Stravinsky and his World contains some of the most unexpected and engaging discoveries of SEER, 95, 4, OCTOBER 2017 760 the crop of books that appeared to mark the centenary of The Rite of Spring. Levitz’s own contribution to the volume is an essay — ‘Igor the Angeleno: The Mexican Connection’ — that explores Stravinskii’s visits to and connections with Latin America, as well as his early years in Los Angeles. Here, Levitz paints a picture of the composer’s exile that draws not on the tropes of loss and nostalgia that figure in the writings of, say, Edward Said or Joseph Brodsky, but on theories of cosmopolitanism advanced by A. Joan Saab and Homi Bhabha. Here, Stravinskii moves easily across cultural, linguistic and national borders with ease and entitlement (Levitz pointedly compares his situation to that of Jewish refugees from East Europe at the same time). His overstated sense of aristocratic entitlement and intense, if complex, need for friendship clearly enabled him to circulate in artistic circles around the world at this time. Levitz’s account of Stravinskii’s encounter with the glorious Victoria Ocampo is emblematic here, and her article draws pertinently on the composer’s photo album as a way of capturing an otherwise ineffable sense of his personality. Levitz’s article is followed by a series of documents (introduced by Leonora Saavedra and co-translated by Mariel Fiori) that trace his engagement with the Spanish-speaking world from 1921 to 1949. Given the long shadow that Richard Taruskin’s exploration of the composer’s Russian origins still casts over the field, or the equal and entirely logical emphasis on his Paris years, this turn to Spain...

Kulttuurin rajat, kääntämisen rajat

While translation is usually conceived as interlingual and intercultural action, there are also intralingual and intracultural types of translation and potentially, even language- and culture-independent forms. This article proffers one approach to intracultural translation, examining its vague existence in Translation Studies, and charting its possible nature within one specific context. Intracultural translation is here argued to have a specific role in Finland with its two national languages, Finnish and Swedish, and a culture which the Finnish- and Swedish-speaking Finns share. The material discussed consists of the Swedish diary from 1909 1944 of the Finnish composer Jean Sibelius (2005) and its translation into Finnish (2015). What makes this diary translation-theoretically intriguing research material is that the published book contains not only the diary, but also an extensive commentary section a metatext for readers in Finland and Sweden as well as an example of both rewriting and intralingual-intercultural translation. While the published diary thus addresses an audience in at least two countries and cultures, probably in all Nordic countries, its translation is in practice merely for Finland, thereby highlighting the specificity and constraints of interlingual-intracultural translation.

“Kalevala-sarja” Uuno Klamiego jako dzieło przełomowe fińskiego narodowego modernizmu

„The Russian Modernists such as Prokofiev and Stravinsky and new Spanish music shook me up from top to toe. ... It was around that time that I went to the Sorbonne to borrow a copy of the Kalevala” (Virtanen 1945: 613– 614). Abovementioned sentence was said by the Finnish composer Uuno Klami (1900 – 1961), who during his studies in Paris (1924 – 1925) was fascinated by the music of Igor Stravinsky, Maurice Ravel, Sergei Prokofiev and Manuel de Falla. Inspiring by achievements of Western modernists Klami wanted to break up the tendency begun by Jean Sibelius to treat Finnish epos Kalevala only in the national romantic spirit. In 1930s Klami under the impression of The Rite of Spring ’s score started composing vocal-instrumental work based on topics from Kalevala. However dur- ing working on it he changed his preliminary plans and composed a five-movement sym- phonic suite Kalevala-sarja op. 23 [Kalevala Suite]: Maan synty [The Creation of the Earth], Kevaan oras [The Sprout of Spring], Terhenniemi, Kehtolaulu Lemminkaiselle [Cradle Song for Lemminkainen], Sammon taonta [The Forging of the Sampo]. Kalevala-sarja started in Klami’s output searching for his personal voice and influenced on his further style. Nowadays the score is regarded as the most significant Finnish or- chestral compositions from the first half of the 20 th century, and very often is called The Finnish Rite of Spring. The article’s goals are: to introduce into Klami’s output, to demon- strate the genesis and inspirations of the suite Kalevala-sarja and to briefly analyse par- ticular movements of the composition in the light of European modernistic influences.

Gender Negotiation of the composer Kaija Saariaho in Finland: The Woman Composer as Nomadic Subject.

This essay is my interpretation of the gender negotiation of the Finnish composer Kaija Saariaho in Finland. I demonstrate, by examining the public's reception of Kaija Saariaho and her own experiences, how the gender negotiation of gender identity and the presentation of a woman composer take place, as ongoing processes, between the realms of conventional otherness (the socially constructed category of women composers) and real-life experiences of the individual. The analysis is done through the theoretical lenses offered by DE LAURETIS (1988) CITRON (1993), FOUCAULT (1984) and the epistemology of nomadic transitions by BRAIDOTTI (1991, 1994). I claimed that Saariaho has negotiated her gender not “within” the male-dominated system but “with” it, defining a new gender subject position: the position of the nomadic subject.

Om "progressiv rock" i Pekka Pohjolas musikk og komposisjonspraksis

In this article I examine the music and compositional practices of the Finnish composer Pekka Pohjola, with special attention given to the terms ”progressive rock” and ”post rock”. After leaving The Sibelius Academy, Pohjola became part of Helsinki’s experimental rock scene as one of the founders of Finnish ”progressive rock”. In the first part of the article I discuss the content of this term. A number of groups and composers that originated as rock musicians in the seventies, have in later years evolved from the expression they were once known for, and are today representatives of a musical aesthetic that is often ignored or overlooked in musicology. By analyzing Pohjolas composition ”Metropolitan”, my ambition is to add a new example to the notion of musical ”post rock” as a relevant terminology.

Yrjö Kilpinen: Finnish Composer and German Lieder in the 1930s

The Lieder of Finnish composer Yrjö Kilpinen (1892-1959) provide an interesting opportunity to study the interaction of national identity and musical aesthetics in National Socialist Germany. His German-language songs, above all to texts by Christian Morgenstern, enjoyed considerable success in Germany of the 1930s. Kilpinen's own political sympathies made him a model for Nazi ideologists, even as a non-German composing in the quintessentially German musical genre of the Lied. Reviews of his Lieder in the German-language press expound on the "Nordic" qualities of the work of this "Aryan" composer. Closer examination of the Lieder urn den Tod reveals a stark, at times heavy-handed compositional technique, which well suited the political ideology of the Third Reich.

Reflections on an Ethnomusicological Study of a Contemporary Western Art Music Composer

Editor's Note: In 2009, ethnomusicologist Pirkko Moisala published a book on the work of contemporary Finnish composer Kaija Saariaho (b.1952). In this short item, we invited Moisala to reflect on the process of writing a composer biography from the perspective of someone who has worked for many years in the field of ethnomusicology, reflections which were not possible to include in the book itself.

Two Successions

Two Successions Johanna Keller (bio) Are comparisons odious or instructive? When it comes to one leader succeeding another, comparisons are inevitable. The new head of a complex organization—such as an orchestra or an opera company—will shift [End Page 116] priorities, import new talent, and redirect the vision. Very often a leader is brought in as a kind of corrective to the prior regime, as happens in national politics. Whether a new captain is deemed successful depends on a combination of wisdom, talent, timing, and luck. It also depends on expectations, largely engendered by what has come immediately before. The season's opening concerts of the New York Philharmonic this fall ushered in Alan Gilbert as the new music director, with colorful posters grandly trumpeting the start of "The Gilbert Era." At Avery Fisher Hall, the audience was abuzz—perhaps with hope for a new era and with a sense of relief that the old one had passed. In 2002, when Gilbert's immediate predecessor, Lorin Maazel, took the helm, it was after a lengthy and failed search for a young, dynamic conductor. Maazel (born in 1930) was widely viewed as a short-term place-holder, but his tenure dragged into seven seasons. Let's compare. First of all, the Philharmonic finally got its young leader—Gilbert is a relatively young forty-two. He is known for working hard in rehearsals, while Maazel was notorious for reading through repertoire with his players and then dismissing them early (the Philharmonic musicians—a tough bunch—loved Maazel for that at first, according to one orchestra musician who did not want to be quoted by name, but over the years grew weary of him because he did not push them musically). Gilbert has led most of the major orchestras as a guest, but is untested as the leader of a world-class orchestra, so this appointment will be a stretch for him—there is an inherent drama in whether he will succeed; Maazel arrived having headed orchestras in Cleveland, Pittsburgh, and Munich, with the Philharmonic as a kind of coda to his career. But more to the point, Gilbert has been dazzling this listener with energetic and fresh conducting since he appeared on the scene; in contrast, Maazel rarely delivered a memorable performance over the past three decades. Maazel is not untalented. On the contrary, his brilliant insights—apparent when he conducts well and in his best recordings—demonstrate a superior musical mind. He has the expressive body of a dancer, able to convey myriad subtleties of interpretation. But more often than not, whether out of boredom or laziness, he seems to give five percent on the podium, and as a listener, one feels simply shortchanged. So, the Gilbert Era began. From before the first night's downbeat, Gilbert had already put his stamp on the orchestra by reseating them. In recent decades the Philharmonic's first and second violinists have been seated to the conductor's left; Gilbert split the two sections, as is very often done mostly in Europe, placing the second violinists to his right and shifting the cellists toward the center of the stage with the violists. While there are arguments to be made for both seating arrangements, the immediate effect was that the Philharmonic musicians heard a new sound onstage and had to listen more carefully to one another. Keeping top-flight unionized orchestra musicians from delivering the same-old is one of a conductor's major challenges; this worked. [End Page 117] For the opening concert, telecast on Live From Lincoln Center, Gilbert chose a program with works from the nineteenth, twentieth, and twenty-first centuries in reverse order. The orchestra commissioned a ten-minute piece by Magnus Lindberg, the Finnish composer who is beginning his two-year appointment as the orchestra's composer-in-residence. At first hearing, the work came off as formless and incidental, without inherent architecture and far from one of this talented composer's better works. I'd like to hear it better conducted—but more on that in a moment. This was followed by the shimmering song cycle, Poèmes pour Mi, by Olivier Messiaen, gloriously sung by soprano Ren...

Problematic sources for Jean Sibelius’s tone poem «En saga»

The Finnish composer Jean Sibelius’s tone poem En saga is one of his most performed and beloved works. Although the work was warmly welcomed, Sibelius revised it completely after ten years. The critical collected edition Jean Sibelius Works published both versions of En saga in 2009, whereby the early version was published for the first time. The editing of this work was challenging due to the shortage of sources and the lack of autograph sources. Namely, for the early version only an unknown copyist’s copy of the full score and a set of parts survive and for the revised version only printed full score and a set of parts survive. The sources of the early version, made by an unknown copyist, contain many problems. It seems as though the copyist was not an experienced musician and perhaps did not fully understand the notation. The printed materials for the revised version are much clearer, but not altogether consistent and errors, like incorrect pitches, missing or misplaced markings, occur there too. Another question is also discussed: can these two versions act as reference sources for each other despite differing from each other musically and also being separated by ten years of time.