On 21.08.2009 Daniel Wolf wrote:
But the most immediate concern is that I just got a set of parts returned from a major European radio orchestra. They are completely marked-up, with bowings and much more. Should the orchestra have cleaned them up? Should I erase all of these marks, or should some of them be kept? Again, my calls to both publishers and librarians have been less than helpful.
I get into this somewhat late, but I can tell you a little about this, since I hire parts for our orchestra on occasion:
When we hire music, we usually get parts heavily marked up, often not even consistent. It can be a nuissance, but then we leave our markings in them as well. It is simply part of the process.
As for prices, I find that they vary immensly from publisher to publisher. Personally I always prefer purchasing parts where possible, it quite often turns out to be cheaper. We just payed over 300 Euros for a complete set of opera parts, regardless of the fact that we only played three numbers out of the whole. One tiny Puccini Aria cost us 70 Euros with Riccordi. For that money I actually could have entered the music in Finale, yet copyright would have been a problem in this case.
Personally I would, for a lot of the stuff we do, prefer digital parts which I can then print myself. It is simply the most flexible way to purchase orchestral music, and I am currently at work setting something like this up, although specialized in Facsimile parts of baroque and classical orchestral music.
Johannes _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
