My Finale files are being presented in the PDF format, making it possible for anyone to download this music, print it out, and head right into the rehearsal room. In every case, Finale must be able to understand whatever I play into the PC via my Kurzweil 2000 keyboard. Therefore, I have by necessity, had to realize, all unfigured basses, all stenographic ornamentation, and all articulation. Work in these three areas is determined by taste, but I have made it easy for performers to modify my decisions. Such a tenuto mark also functions as the historically correct musical interpretation of such ornaments.
Articulation is more complicated, since it tends to be quite haphazard in the original parts.
Utilizing what is originally given, I have maintained a conformity of articulation in all parts throughout a given movement. The same might be said for the usage of dynamics. Unlike many editors of the 19th and 20th centuries, I have not expounded upon what I believe the interpretation of the musical line might be. I feel that this is a personal matter, or should I say, a matter of musical personality. Indeed, many players like to create an 'interpretation' of a given work, and the mannerisms which they overlay are part of their very being.