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It is a pleasant, but also a daunting task to acknowledge the assistance I have received in writing and bringing this new edition to publication. For everyone whom I mention by name, there have been many others who have contributed something to my knowledge and experience. Almost everyone with whom I have ever worked closely, either as a scholar, teacher, or performer, has had some impact on my thinking and insights. I am grateful to all of them, even those whose names I no longer remember. People who were particularly important for my work on the first edition are gratefully acknowledged there, and I will not repeat their names here.
In the UK, at the beginning of this century, we began to develop the concept of PhDs, in which the rigorous intellectual demands of scholarship and the skills of performance were inextricably combined. Supervising practice-oriented PhD students in Leeds, Vienna and Leiden, has contributed significantly to my gradually developing understanding of historical performing practices. I have also had the pleasure and stimulation of performing in concerts with many of them. I am glad to pay tribute to their influence on my thinking then and now, naming them in chronological order: Neal Peres Da Costa, David Milsom, Heng-Ching Fang, George Kennaway, Ilias Devetzoglou, Martin Pickard, Peter Collyer, Sarah Potter, Miaoyin Qu, Kate Bennett Wadsworth, Jung-Yoon Cho, Masumi Nagasawa, Johannes Leertouwer, Alexander Nicholls, Emma Williams, Laura Granero, Francesca Piccioni, and Darija Andzakovic. In recent years, I have also collaborated very fruitfully with Neal Peres Da Costa in several research projects, as well as making experimental recordings of Brahms Violin Sonatas with him. It has also been inspiring to perform with Mikayel Balyan in the past few years, without whose encouragement I would not have had the confidence to record sonatas by Beethoven and Krufft with him, based on the performing practice research for my 2020 Bärenreiter edition of Beethoven’s Violin Sonatas.
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