Prof. Adam Benzwi, musical director, Komische Oper Berlin:
Ingo Weber created excellent, complete sheet music and a beautiful orchestra score for our new production of Eine Frau, die weiß, was sie will!, based on the original orchestra material from 1932. His work turned out to be more like a reconstruction, because he discovered many inconsistencies between the parts. Our musicians were enthused at the high quality and usability of his music. Ingo Weber has great musical expertise and experience. He is highly dependable, and working together with him is a pleasure!
Liana Gavrila-Serbescu, pianist, Amsterdam::
I am especially grateful to my friend and colleague Ingo Weber, who resolved the complicated philological and graphical problems presented by the manuscripts with great skill and patience. (from the preface to Ethel Smyth's Piano Works)
Michael Töpel, composer and contemporary music editor, Bärenreiter Verlag, Kassel:
A perennial theme in the history of music is the limited amount of time that tends to be available when it comes to producing the parts once a composer has finally completed a particular work (usually later than planned, and in fact, if we look at it in this way, there are more late works than one imagines). Think of the Bach family on a Saturday evening. The score of the Sunday cantata has just been completed, and they all huddle round a table in candlelight and write out the parts from the manuscript.
Although modern production techniques are different, the time frame is often just the same. So it is extremely reassuring for a composer or an editor to know that he can call on the services of a competent, punctual and flexible partner. Since Ingo Weber possesses all of these qualities, he has on many occasions helped me to cope with very difficult situations and enabled me to meet some rather hair-raising deadlines. I am very grateful to Ingo Weber for his hard work and his supportive attitude.
Hermann Keller, composer and pianist, Berlin:
I first collaborated with Ingo Weber when he was preparing the printed edition of my Second Piano Sonata. Since I strive for a clearly legible kind of notation, which I find is often lacking in the editions of famous publishers, he was bombarded with quite a few unusual requests. I thought that he dealt with them in a remarkably perceptive manner, and the notation achieved a kind of consistency which other composers would do well to emulate. After completing this task for my publishing company, Edition Juliane Klein, he began to work on a far larger project, the New Theory of Music, which I sent to him in handwritten form. It is extremely tricky, for I introduce a series of new symbols. Here again Ingo Weber has proved that he works in a very precise and knowledgeable way. To put it in a nutshell, he is simply a congenial partner.
Arnt Christoph Nitschke, product manager, Peermusic Classical, Hamburg:
For some time now Peermusic Classical has collaborated with Ingo Weber on a project-by-project basis. He works quickly and in a systematic way, solves problems as he goes along, makes helpful suggestions, and epitomizes high aesthetic standards. He is always trying to find solutions which will help the publisher with the various editorial and technical aspects of notation. Ingo Weber has proved to be very reliable when it comes to meeting crucial deadlines. I am happy to be able to work together with him.
Professor Uli Molsen, pro-rector at the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart:
Ingo Weber has been in charge of my publications for many years. Among other things he prepared the printed edition of Baroque Keyboard Technique, which received a best edition prize. I would like to thank Ingo Weber for his sterling editorial work. His precise scrutiny of the sources and his attention to notational detail have made a crucial contribution to the success of this volume. When I think of the many editors I have had dealings with, and all of them were excellent, Ingo Weber comes at the top of the list. If it were up to me, I would ask every future publisher to do his best to secure the editorial services of Ingo Weber.
Mario Wiegand, composer, Weimar:
Ingo Weber produced the orchestral parts of my opera Operette within a remarkably short period of time. Since I only managed to complete the work at the last minute, Ingo Weber made it possible to stick to the first performance, so to speak, by putting in a lot of overtime. He is not only a consummate professional, but has the ability to enter into the spirit of the music he happens to be working on. I really enjoyed the experience of collaborating with Ingo Weber!
Dr. Nors S. Josephson, musicologist, Deidesheim:
Mr. Ingo Weber is an excellent music typesetter. He prepared the final printed version of my first Mass in C-Major (which was published by Carus-Verlag in Stuttgart) and also did an amazingly accurate job in realizing my complex, polymetrical score reconstruction of the final movement to Charles Ives' Third Orchestral Set, which was recorded by Jim Sinclair as part of the recent Naxos Charles Ives recording. I understand hat Peer Music in New York City will be published the entire Third Orchestral Set (first two movements finished by David Porter). Mr. Weber has also prepared the final score of my reconstruction of Mozart's Requiem, plus numerous analytical articles with musical examples on works by Purcell, Beethoven, Dvořák, Janáček, Sibelius, and Wagner. Mr. Weber is a highly accurate worker endowed with creative imagination and also blessed with practical technical abilities. It gives me high pleasure to recommend him in the highest possible terms.
Professor Ulrich Leyendecker, composer, Gaugrehweiler:
For almost 9 years Ingo Weber was the editor responsible for the publication of my works. I always thought that his work was outstanding, reliable and fast, and this applied equally to printed editions and hire material. The printed editions which appeared during this period included those of my string quartets, much of my music for one and two pianos, some of my vocal works and two of my symphonies. Ingo Weber scrutinized my material in a highly professional manner, and with a great deal of insight and thoroughness, and provided the orchestras with faultless sets of parts. This was something the orchestral musicians in particular considered to be very praiseworthy.