Notes are a communication from the composer to the performer. As in a letter, the inventor describes – as precisely as he deems it necessary to understand his message – how the music he invented should sound. Like other forms of communication, this is also a very individual thing, which depends on the personality of the author, the type of message and linguistic peculiarities. And the relationship to the addressee plays a role: a letter to a person close to you, for example, requires less information than a letter to someone with whom you have little in common.

A special feature of Hummel's autographic notation of the bassoon concerto is the extraordinary freedom in articulation and dynamics that the composer allows the soloist here. While all parts of the orchestra contain precise instructions in this regard, the bassoon part is almost entirely free of markings. In my opinion, this is due to the virtuosic style of the concerto: the freedom granted by Hummel gives the bassoonist enough space to adapt his part to his own needs and possibilities in such a way that he can achieve the greatest possible effect on the audience.

In keeping with his musical style, Vivaldi's handwriting is very clear and distinct. Character and statement of the respective concerto are immediately apparent through the graphic expression of the autograph. The fact that Vivaldi uses signs of dynamics and articulation very sparingly makes small details in the penwork even more visible and thus more important for the interpretation. I spent a lot of time and energy to make the basic graphic character of the respective autograph visible in print and to give the interpreter every possible indication of interpretation - from beam setting to partially ambiguous slurring to beam angles and rather narrow or wide spelling.

The manuscripts of Weber's bassoon works are generally well preserved and very detailed, with little that is ambiguous. Its slurring leaves room for interpretation in some cases, but there are very clear indications of dynamics and articulation. A sign in Weber's handwriting that is not part of the standard notation is a small curved vertical line, similar to a staccato line, which, however, is not above the note but offset slightly to the right next to the note, always at the end of a slur. My interpretation of this sign would be that the phrase should clearly end here, whether the note has to be shortened for this is questionable. In the typesetting, I have reproduced the character as faithfully as possible to the original.

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