Anyone performing handel’s Concertos Op. 3 has to tackle a basic problem – the musical text. the edition published by John Walsh in 1734 is by no means perfect, and is regarded with musicological head-scratching. there are no complete autograph manuscripts to help show us the way with these works. today Walsh is generally held in low esteem, criticised for shoddy editions, and equally shoddy business practices. I believe there is more value and trust in these texts, and in the man, than is usually given credit.
Perhaps with a fresh look at the hugely important set of
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