Spending any time in the music world quickly reveals an abundance of available editions, especially for standard repertoire. Teachers often guide students in selecting appropriate editions, and orchestra librarians ensure that the correct materials are distributed for rehearsal and performance.
However, questions of compatibility can arise when different editions are used simultaneously. For example, a soloist may bring a personal copy of the Hummel Trumpet Concerto in E major for performance on E trumpet, while a pianist downloads a more commonly encountered E-flat version from IMSLP. A rehearsal can quickly become confusing if the parts are not aligned. If orchestral materials were similarly mismatched, the consequences would be even more significant.
Similar issues can occur when different versions of a work are used concurrently in performance. In some cases, solo and orchestral materials may reflect different editorial traditions or revisions, creating discrepancies that are noticeable to performers familiar with the piece.
While working at Luck’s Music Library in Detroit, I once asked why Haydn’s Concerto No. 5 in C major was not available for sale (prior to my learning that it is a musical hoax attributed to Popper). I was told that it was often mistaken for the well known Concerto in C major by performers making purchases. Although those two works are unrelated beyond their key, comparable confusion can arise when different editions of the same composition are used interchangeably.
Dvořák - Cello Concerto in B minor
This is the simplest case on my list. The reprinted Simrock parts (Kalmus/Luck's) have rehearsal numbers, as does Bärenreiter. But for some reason, Breitkopf Urtext decided to use rehearsal letters. This means that anytime your solo part says 1-2-3, the Breitkopf says A-B-C. The Breitkopf Urtext edition is good, but using the orchestra parts might pose a slight inconvenience.
Haydn - Cello Concerto in D major
Haydn's D-major Concerto is notorious for mismatched parts. There are 2 main versions for the orchestra parts, the original and the "Gevaert" version (orchestrated from Servais's version). Usually, the 2 versions are marked as such. The number of versions for cello and piano is much greater. There are editions with cuts, interpolations, and pitch alterations. Before your first rehearsal, you will want to make sure that the solo part you plan to play matches the accompaniment. Don't assume the pianist/conductor will acquire the correct version.
Selected Discography
Miklos Perenyi - Original, without any alterations to the solo part
Daniil Shafran - Traditional Gevaert version (double woodwinds) with the cadenza by Gevaert (most likely Servais)
Christine Walevska - Altered Gevaert version (2 oboes/2 horns), currently available from Breitkopf
CPE Bach - Cello Concertos in A minor and A major
If you get the Breitkopf (Grützmacher) edition of CPE Bach's A-minor concerto, it won't be compatible with the original version orchestral parts, You can hear in the mixed-edition version in Tim Hugh's (Naxos) recording; it doesn't work. The story of the A-major concerto is almost as complicated as that of the Haydn concerto. The editions prepared by Pollein and Cassadó are incompatible with the original orchestra parts. Cassadó's version is altogether in a different key of F major.
Boccherini - Cello Concertos in B-flat major and D major (G. 479)
Boccherini's B-flat major concerto is surrounded by confusion. Someone decided to assign the G. 482 catalog number to the Grützmacher concerto, aka by Boccherini, which is entirely a different piece from Boccherini's G. 482 concerto. Grützmacher did a paste job with 4 of Boccherini's concertos and a Dotzauer etude. The solo parts and orchestra parts are completely incompatible.
Another famous Boccherini concerto, G. 479, has been arranged and reorchestrated by Aslamazyan, Cassadó, Respighi, and others. The solo parts and orchestra parts are incompatible with the original version.
Tchaikovsky - Rococo Variations
These days, more cellists are playing the "original" version of Tchaikovsky's Rococo Variations, but there is not just one original version. Among orchestra versions, Luck's sells one reconstructed version. Schott sells another reconstructed version which is incompatible with Luck's. There are 2 unreconstructed original versions, a 1970s Soviet edition (not Kubatsky) and my YL Edition. The latter 2 are compatible. But if you purchase the Peters Urtext or Schott editions, they will be incompatible. Maybe then you might realize that there is nothing wrong with continuing to play the "Fitzenhagen" version. Are you confused yet?
Selected Discography
Steven Isserlis - Original, based on the manuscript sources (1970s Soviet edition and YL Edition)
Johannes Moser - Reconstructed version by Kubatsky (Kubatsky/Schott)
Miklos Perenyi - Original, based on the manuscript sources (1970s Soviet edition/YL Edition)
Raphael Wallfisch - Reconstructed version by Kubatsky with additional alteration by Stogorky (Luck's/Kalmus)
Breval - Cello Sonata in G major, Op. 12, No. 5
This piece was originally written for 2 cellos, as were all of Breval's cello sonatas. I recommend playing it with a cello accompaniment. But If you play with a pianist, the Moffat piano part (1904, Simrock) is the most conservative with the harmonies and the cello part. The Salmon piano part published by Ricordi (1921), also works with the original cello part. Salmon's is more harpsichord-like in texture. Originally, Ricordi published a piano part by Alexanian in 1918 but felt the need to publish something closer to the original text. I only know of Eisenberg and Garbusoba to have performed the Alexanian version, at least in America. All the recordings I know of this piece from the 1900s are with the Moffat piano part.
Cahnbley, published by Schott in 1921, recomposed the cello part almost like Grutzmacher style, with a piano part to match. Cassadó's version (IMC, 1956) is somewhere between Moffat and Cahnbley in how much was changed. Cassadó flipped the voicing of the cello and piano occasionally, so his piano part would not work with the original cello part. I don't see any entries of a cello-piano version of this sonata in Hofmeister before 1900.
Kraft - Cello Concerto, Op. 4
In my exploration of the lesser-played cello repertoire, I've also found the Dominis edition of Antonin Kraft's C-major concerto, Op. 4 incompatible with the original version. The Dominis edition has truncated the piece and changed the key of the slow movement from E to A major. There are no recordings of the Dominis edition.
Romberg - Cello Concertos
Solo parts from Peters (Grützmacher), Litolff (Schoeder), Carl Fischer (Malkin), and IMC (Rose) editions of Romberg's cello concertos are not compatible with the original orchestra parts.
Bartok - Viola Concerto (cello version)
If you want to play Bartok's Viola Concerto on the cello like Janos Starker, you will need the orchestra parts for the Tibor Serly version. The Peter Bartok version parts are incompatible.
Conclusion
The rule of thumb is to try to play from the same edition as the other members of your group. You will save time asking, "Where is letter X?" Number your measures, check the score for inconsistencies in your part and you will be in great shape. If you play in an orchestra and have a great librarian you can trust that most of the inconsistencies have been smoothed out.