My editions

Studying composition forced me to daring,

I then arranged some small pieces,

now edition has become a way of life…

… they start to be stacked and I need to share…

Currently it is not uncommon for me to edit a new piece per week. Many belong to the personal field, of course, and a glance over them just becomes a sort of diary of my stylistic interests.

Others are due to need: provided that the readability of originals is doubtful (in many manuscripts, for instance), when the piece in question was only published in parts (and I like to have a general idea of the whole) or just the opposite, when there are no parts in music for bigger ensembles…

This hobby is beginning to bear fruit in the professional area. I collaborate since 2007 with the production office of the Koninklijk Conservatorium in The Hague in preparing materials for projects organized by the Early Music department.

For more information, you can read my Editorial Policy. And if you like, send me consultations and/or suggestions to my email address.

Creative Commons License

The editions available in this site are by Patricia González Fernández and are under Creative Commons Licence: Attribution-Non-commercial-No derivative works 3.0 Unported.

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who said...

"[Beethoven] went in his usual (I might say, ill-bred) manner to the instrument as if half-pushed, picket up the violoncello part of Steibelt's quintet in passing, placed it (intentionally?) upon the stand upside down and with one finger drummed out a theme of the first few measures. Insulted and angered, he improvised in such a manner that Steibelt left the room before he finished, would never again meet him and, indeed, made it a condition that Beethoven should not be invited before accepting an offer."

F.W. Wegeler & F. Ries, Biographische Notizen über Ludwig van Beethoven (Koblenz, 1838)

"[...] the king [Charles II of Spain] eagerly asked me if I had heard Matheuchi sing, when he would come, and if he was impertinent or not, and as if there were no army in the world, nor Milanese state, completely forgot such matters, but this is not surprising given that all his ministers, or most of them, have had the same experience [...]"

Letter of Carlos Felipe Spinola y Colonna to the duke of Medinaceli (1698)

"I was in St Alban's Abbey and I was intrigued: they were building a new organ and I went up to - I suppose it must have been - the verger and I said, 'Is the organ baroque?' And he said, 'No, it's in perfectly good order.'"

John Tavener, The Music of Silence, A Composer's Testament (Faber ISBN 0571200885)

"The Second Harpsichordist will go only to the last rehearsal, sending the Third One to the previous, who won't read more high Clef than Soprano, trying to play without using the Thumbs, don't follow the Numbers, play always the Sixth, don't meet up with the Master, and close all the second Parts of Arias with major thirds, etc. etc. etc."

Benedetto Marcello, Il teatro alla moda (1720)