I did an cumplete about face and now dropped da Variationz (:Brew:) for da Waldo and Andante Favori.
I waz juz lookint at da Zhrapnel Waldo edition and expecting more of a Corpse edition with zum useful interpreting zheeyatz. Azide from da fingeringz (which I’ll look into), it’z pretty amature zheeyat like fermata 6 countz, deze are 
pedal markingz, play ornametz like diz…
Doez anyone actually uze thiz ztill? Or zee zum value in it I’m mizzing?
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Nah just use da Henle
There is new Henle edition with Perahia fingerings. Also it’s interesting to check Arrau’s fingerings for Edition Peters (I can scan Waldstein if you want). He has some wierd solutions on first, but after some short time, they work quite great.
What do you make of the Perahia fingerings, @kreso? I bought his Op. 101 when I was preparing it and was underwhelmed - found Arrau and Schnabel much more insightful.
To be honest, I just played op. 14 no. 1 and now I’ learning op. 14 no. 2 from Perahia’s fingerings. Of course, there is nothing experimental (like sometimes with Arrau) but there are some good and clever solutions (like he’s playing is).
Btw. There is fantastic Brittish pianist Ian Fountain who did new editions for Henle of some of Variations complete cello sonatas & variations. This is worth.
I am using this one (Barry Cooper) along with the Breitkopf, of which the latter has some good info in the footnotes and the trill suggestions are actually quite useful. Just finished the 110 fugue with it. I think it is working great.
Haven’t checked any pianist specific ones.
https://shop.abrsm.org/shop/prod/Beethoven-Ludwig-van-The-35-Piano-Sonatas-Volume-1/2001411
Ok, I might check da library for others. (when it openz).
I was just surprised at the status people hold da Schnabel when it doesn’t really cuntain much bezides fingeringz.
Does anyone have da Pimp edition? Been trying to find it for ages.
I’ve got da Pimp. Huge disappointment, was clearly pushed out to capitalise on his fame when he had no time to do it and all the publishers did was take an existing edition, and apart from the last three sons which have some themes marked there’s no unique info in there.
Can’t stand the Cooper one (which is beautifully engraved) since it feels like just change for the sake of it because the previous ABRSM edition was going out of copyright. There are some weird editorial decisions, including some appoggiatura/acciaccatura confusions, and his notes aren’t anything like as complete and scholarly as he would like everyone to think.
So bazically Cortot is unique in what he offers in his editions?
This has an interesting analysis of the Liszt edition: Beethoven through Liszt: myth, performance, edition
I’m sure someone online found an identical edition to the Liszt by an earlier editor and showed Liszt’s only additions were in the last three sonatas, but I can’t find a link to it now. Maybe I imagined it…
da BULOW edition is fun, the footnotes can be quite bitchy. And I wouldn’t be without the SHRAPNEL, I find his fingering and notes to be very useful - but it’s not an edition to play from.
Do you mean da Cortot’s unique in the breakdowns into practice exercises etc.?
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That’s disappointing about da 
Is it the same with his Schubert? I think they’re on IMSLP.
I have his Field nocturnes, there’s a massive essay at the start but I can’t remember what’s through it. Must have another look.
Nah, more like the structural and interpretative insights.
The only other edition I can think of like that for da is Tovey (in conjunction with his book).
That’s if you can decode his prose…
I have a book called ‘what Tovey meant’ haha
it does take a while to get into his style. I’ve got most of his writings now, there was definitely a great mind under the verbal over-indulgence. Kind of an anti-HINTY.