“This lecture considers historical and present-day editing practices, and how a knowledge of them helps performers to evaluate a score critically. Performers rarely use autograph scores, even if they are able to practically do so; instead they rely on a transcription, usually a published edition of some kind. Therefore we need to ask questions such as: does this transcription transmit what the composer wrote? Are there are changes made by the editor or publisher, and what caused or motivated them? Does the score and its notation tell us everything we need to know in order to perform the music ‘correctly’? 
If its notation requires interpretation, in what way (if any) has the editor helped the performer? Asking these questions leads us to consider how thinking about historical music has changed over the past 200 years, and how such thinking has influenced editorial practices. 
In examining what editors do, and did, we can consider the practice of historically-informed interpretation.”

Andrew Woolley
Musicologist and keyboard performer presently based in Edinburgh, UK. 
To date his research has been concerned primarily with music in Britain c.1650–1750, particularly keyboard music, and foreign music and musicians in Britain. He was a post-doctoral research fellow at the University of Edinburgh (2011–13) and has held a lectureship in music at Bangor University (2013-14) where he taught music history subjects, orchestration, and directed performance courses. He holds a PhD from the University of Leeds, UK.