Sarah M. Burn, A critical performing edition of selected works by A.J Potter (1918 - 1980) (MA, Dundalk Institute of Technology, 2008)

These details defined Wed Dec 4 10:11:59 2013  edit
 Author:  Burn, Sarah M. 
 Title:  A critical performing edition of selected works by A.J Potter (1918 - 1980) 
 Degree, institution:  MA, Dundalk Institute of Technology 
 Status, year:  accepted, 2008 (2008) 
 Repository:  Dundalk Institute of Technology Library 
 General specialism:  Musicology 
 Content, key terms: 

A.J. Potter (1918-1980) was one of the most important figures in 20th century music in Ireland and there is a compelling need for his music to be easily available to performers in accurate and attractive typeset editions. These new critical performing editions fill a long-felt need for accessible and authoritative scores and parts. Like much of his considerable output, the music existed in handwritten manuscript form, and while most of his scores are in his own exemplary handwriting, many of the orchestral parts were hastily copied by others. They may contain inaccuracies and are often lacking in clarity, style and elegance. They also contain a large number of revisions. This causes confusion and may lead to the music being rejected by conductors, performers, librarians and promoters simply because of its appearance.

A number of criteria were employed when deciding which of Potter's works, out of all the hundreds available, should be selected. It was decided to focus on various versions of two of his most popular, relatively small-scale works, which show interesting aspects of his compositional style and technique, and are within the capabilities of non-professional performers. The selected works, Fantasia Gealach No. 1 and there of his Finnegan's Wake corpus, were written during Potter's early years as a professional composer, and have maintained their popularity and significant place in his output.

The presentation of these new scores and parts, and their effectiveness as performance material, is greatly enhanced by their having been typeset using Sibelius software, which is highly regarded in the music industry. The Editor has combined her knowledge of the composer's music, her experience and skill as a music copyist and her ability as a typesetter to create these new editions.