Chou Wen-chung

Octandre (1923)

[continued]

Following is the list of those cases where comparisons and verifications were deemed necessary:

Much of the task of verification and correction took place in 1966; as, nevertheless, both the Curwen edition and the Ricordi reissue further included a large number of inaccuracies with respect to the placement of dynamics, accents, and slurs, requiring careful editorial revision, it was deemed advisable to proceed with a completely new edition rather than with the incorporation of the corrections in subsequent reprints of the Ricordi edition.

The task of preparing the score for the engraver was entrusted to James Tenney whose thoroughness and attention to style and consistency are gratefully acknowledged. The composer’s style of notation is basically retained, except when it is felt that common practice today demands such modifications as the use of measure numbers rather than rehearsal numbers, the placement of the oboe part below the flute part and the transposition of certain passages of the trombone and contrabasse parts in more readable clefs. Also, Varèse was in the habit of mixing Italian with French in his instructions, such as following con sord. with sans. sourd. Thus, inasmuch as the score is fundamentally in French, for the sake of consistency, a number of terms have been judiciously respelled in that language.

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