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My wife's roommate from college, 
Josephine Knight, British 
cellist.

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She went back to the source to 
the manuscript and found out 
that

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a lot of the markings there are, 
which are in pencil, were not 
Schumann's.

4
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And so she cleared it all out.

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And it's really 
incredibly revelatory.

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I think it changes the piece.

7
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So, for example, you know, 
if we take the opening.

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Scott, will you play with me?

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This is how it went.

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♪♪

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So this is what I 
am used to hearing.

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♪♪

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And so you're 
thinking, you know,

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this is this angry, angry music.

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What's the real thing?

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The real thing...

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♪♪

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And so the real 
thing is a love song.

19
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Yeah.

20
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Which is consistent with the 
rest of the piece because you

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get that bit in the second 
movement with this kind of love 
duet.

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One of the things that 
I didn't even know,

23
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the ending is 
completely different.

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I heard an old Casals recording 
- they cut out for me,

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the best part of the concerto. 
That was common.

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Even my own teachers, Aldo 
Parisot, Leonard Rose, they...

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And added their own music.