by Mike Telin
“I’ve always been fascinated with works that are on the fringe of the repertoire,” violinist Andrew Sords said by telephone. The problem with learning and ultimately performing works that are off the beaten track is that even with published works, the editions are often riddled with mistakes, if not illegible. “I’m a little OCD when it comes to the score that’s in front of me. I want it to be legible, correct, and have it provide some historical context.”
Following years of frustration, Sords has taken matters into his own hands. Joining forces with music engraver Daniel Singer, the violinist’s new venture, Green Point Editions, sheds light on musical gems that are often neglected on concert stages. Currently available are works by Franz Joseph Haydn, Jenö Hubay, Wolfgang Amadeus Mozart, Jean Sibelius, Claudio Brindis de Salas, and Eugène Ysaÿe/Frederic Chopin.
Misprints in published editions have existed for centuries. Sords noted that Dvořák’s Violin Concerto has a famously wrong note in the final arpeggio. “You can’t blame the performer simply because they are playing from prints that their teachers said had the correct notes. But have some curiosity. Look at the Urtext, or prints from the 19th century that might be a little more accurate.”