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

She went back to the source to the manuscript and found out that a lot of the markings there are, which are in pencil, were not Schumann's.

And so she cleared it all out.

And it's really incredibly revelatory.

I think it changes the piece.

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

Scott, will you play with me?

This is how it went.

♪♪ So this is what I am used to hearing.

♪♪ And so you're thinking, you know, this is this angry, angry music.

What's the real thing?

The real thing... ♪♪ And so the real thing is a love song.

Yeah.

Which is consistent with the rest of the piece because you get that bit in the second movement with this kind of love duet.

One of the things that I didn't even know, the ending is completely different.

I heard an old Casals recording - they cut out for me, the best part of the concerto.

That was common.

Even my own teachers, Aldo Parisot, Leonard Rose, they... And added their own music.