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I read the composer's letters, took classes, wrote journals, boned up on Emerson and the others, journeyed to Concord.
I am not sure I would have thought of Montana landscapes if I had not read the composer's program note.
Beethoven could, and did, read other composers' work, and it would have come as vividly off the page for him as does reading a novel for others.
I also read about composers, their creations, the contexts for their lives, and the programs they were expressing.
In place of the spoken dialogue, Alexander Herold, a descendant of the composer, read a narration, portraying the composer himself.
She took the shock reasonably well and was observed to be reading the composer's descriptive program notes closely and paying keen attention to the music.
I tend to like a little Bachian clarity in the rippling piano figurations of the melancholic last movement of the first sonata, music so personal you feel as if you are reading the composer's diary.
The citation was read by the composer Augusta Read Thomas.
In preparation for Rosenkavalier, he has examined the works of Johann Wolfgang von Goethe, explaining that he tries to read what the composer read.
(I can imagine another, less likely scenario: the composer read the manuscript and refused to grant his approval, whereupon Volkov obtained the signatures by subterfuge).
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com