Like many other nineteenth-century composers, Brahms was often approached to edit other composers’ works. Publishers strove to attract famous musicians such as Clara Schumann, Franz Liszt and Julius Rietz for editing work, alongside music scholars, not least because their names attracted buyers. Brahms’s own preference as editor was to remain anonymous, and we also do not know exactly why he undertook this work. The demands on time (studying the sources, comparing texts, revising, corresponding with the publisher, etc.) were considerable, especially alongside his own daily work of composition and concert duties. Furthermore, the pecuniary rewards were limited [see Ch. 8 ‘Finances’]. Thus, in relation to Brahms’s edition of Mozart’s Requiem, he was told on 12 February 1876 that he, like all the other editors, would have to be content with a ‘modest compensation of 1.50 Marks per score plate’.