To facilitate this, a new full score based on the original published parts was produced by Boosey & Hawkes. Multiple errors are found in the score that are not shown in the original parts. This new edition contained several modifications:   Sometime after the publication of the 1921 edition, the original manuscript was lost. As a result, the only full score available of the First Suite was from 1948 edition, and many conductors struggled with the peculiarities contained therein. It was well known which instruments were additions to the original, but because the 1921 score was only a piano reduction, Holst's original intentions remained unclear. Then, in 1974, the original manuscript was discovered. Frederick Fennell, in a reprint of his 1975 article discussing the suite, states:  "“Shortly after this initial piece in our Basic Band Repertory series was published, the manuscript of the Suite in E for Military Band surfaced for the first time. The full score always existed and it could have answered all the questions which were raised in my initial study and in the minds of other conductors whose pursuits of definite answers in this has been an equal frustration.”" Among the questions raised were those concerning the scoring discrepancies associated with the alto clarinet and baritone saxophone. In light of these realisations, a new, revised score was subsequently prepared by English composer Colin Matthews, with the assistance of Imogen Holst and Frederick Fennell. This new edition was published in 1984 by Boosey & Hawkes. Matthews knew that a complete return to the scoring of the manuscript would once again limit the accessibility of the work, particularly in the United States, where American bands are still to this day typically larger than their British counterparts. In the introduction to the revised score, Matthews states:  "“Since the composition of military bands and wind bands in general has changed since 1909, this new edition of the score does not attempt to go back wholly to the original manuscript… The second pair of trumpets and the baritone have been omitted entirely, while the added baritone and bass saxophones have been retained (with some emendations). The additional parts for alto and contrabass clarinets and flügelhorns have been omitted... The omission of the baritone has allowed the euphonium part to be expanded, most notably in the Intermezzo after letter D, and at the beginning of the Finale, where it doubles the 1st cornet at the lower octave.”"