THIS IS THE FULL TEXT OF Towards a New Edition of Liszt’s Sonata in B minor: Sources, Editorial History, Symbolic Issues. Tibor Szász (with Gerard Carter and Martin Adler) “New wine into old wineskins”—such is the reception history of Franz Liszt’s Sonata in B minor. Ever since its publication in 1854 the score has suffered from textual misinterpretations which are reproduced as a matter of longstanding tradition in current editions and performances. What has led to these widespread misinterpretations of the Sonata? The answer must be the music itself—a continuum in statu nascendi (in the state of being born)—for which analysts have yet to develop adequate means of analysis and synthesis. Liszt was not a good proofreader of his own compositions, and this circumstance, together with his failure to transfer his piecemeal revisions to all similarly affected structures has led to his Sonata being misunderstood by generations of musicians. Liszt’s Sonata has in the past been viewed through the spectacles of distorted tradition. Accustomed to look for a featured “tune” in the soprano, analysts have failed to detect the completely novel structure of the opening Lento assai which comprises two interacting polyphonic elements, of which the “melodic” voice is found not in the traditional soprano but in the bass. Unable to find the expected structures, interpreters have forced out of the printed notes of the score fictional “tunes” fitted into a bed of habitual “soprano melodies.” They have been labeled with two unrelated names, “Phrygian” and “Gypsy” and incorrectly referred to as “descending scales.” Typically, the opening Lento assai was misinterpreted as unisons (staccati on G, mm. 1, 4, 7) broken up in mm. 2–3 and 5–6 by a descending scale starting on high G and a drone starting on the same high G. The Sonata in B minor was published in 1854 with flaws which continue to be restated uncritically in current Urtext editions. These flaws manifest, not as wrong notes, but as details of notation which obscure the two-voiced polyphony in octaves of the Sonata’s Urmotiv (or thème générateur). Liszt’s failure to transfer his autograph revisions of the Urmotiv to all similarly affected structures resulted in a first edition that contained seven flaws in the opening three measures which reappear in mm. 4–7. The present authors have re-examined all the extant and relevant sources: the autograph manuscript (the so-called “Lehman Manuscript”), the two Henle facsimiles thereof, the only extant sonata sketch (GSA 60/N 2), an undated “Sonate” fragment in E minor (old catalogue S701t / new catalogue S692f), the Urtext and critical editions published in the last two centuries, as well as other scholarly contributions to the literature on the Liszt Sonata. Their re-examination has yielded the following conclusions: Urtext policies perpetuate many of the flaws of the first edition and ignore Liszt’s autograph revisions; no edition of the Sonata reflects Liszt’s intended graphic layout of the score; many current performances and analyses of the Sonata are flawed; a correct edition that constitutes his Fassung letzter Hand (final authorized text) is urgently needed. The likelihood of misinterpreting the confusing graphic layout of the first edition of the Sonata was recognized by a number of pupils close to Liszt. In particular, Arthur Friedheim, José Vianna da Motta, and Alexander Siloti produced rectified graphic layouts intended to prevent misinterpretations of the Sonata’s opening measures. However, these solutions remain mostly unknown today. The aim of this article is to provide an impulse for the publication of a more correct Urtext edition of the Liszt Sonata which is free of the numerous flaws contained, not only in the first edition of 1854, but in all published Urtext and non-Urtext editions since then. Indeed, the time is ripe to excuse Liszt’s deficient proofreading, to remedy the resulting textual misinterpretations by performers, scholars, and editors, and to rehabilitate the text of the Sonata in a reliable Urtext edition based on Liszt’s previously ignored revisions. Implementation of this project will not be difficult, time-consuming, or expensive. It largely consists of amendments to the fourteen crucial measures 1–7 (Lento assai) and 453–59 (Quasi adagio). Besides making suggestions for a correct Urtext edition, the present authors have strived to point out the far-reaching consequences for performance of the rehabilitated Sonata text.