Author Archives: Annette Oppermann

The Bartók Complete Edition and its offspring

Posted on March 29, 2021 by Annette Oppermann

Since one of the special features of the Henle Verlag … Continue reading →

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Beethoven love letters? A contribution to perhaps his oeuvre’s smallest work group

Posted on November 23, 2020 by Annette Oppermann

In Beethoven’s just as extensive as impressive chamber music oeuvre, … Continue reading →

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Genuine Beethoven – or not quite? Questions of authenticity with Beethoven

Posted on October 26, 2020 by Annette Oppermann

The Beethoven Year is slowly coming to a close, almost … Continue reading →

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More than “Ode to Joy” – the whole range of Beethoven’s vocal work

Posted on July 13, 2020 by Annette Oppermann

Although the melody of the 9th Symphony’s choral movement, “Freude … Continue reading →

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“Beethoven Complete” yesterday and today – from the beginnings of the Beethoven complete edition(s) in the 19th century

Posted on March 23, 2020 by Annette Oppermann

Only what we have as whole, do we truly have … Continue reading →

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At long last: Bartók’s Concerto for Orchestra is now also in a handy format

Posted on October 28, 2019 by Annette Oppermann

The great Hungarian composer Béla Bartók has finally entered the … Continue reading →

Posted in Bartók, Béla, Concerto for Orchestra (Bartók), Monday Postings | Tagged , | 1 Comment

The other type of sources: Letters about Max Bruch’s “Kol Nidrei”

Posted on June 10, 2019 by Annette Oppermann

An Urtext edition – and not just only from Henle … Continue reading →

Posted in Bruch, Max, Kol Nidrei (Bruch), letter, Monday Postings, piano + violoncello | Tagged , | 2 Comments

Bordering on the modern – The Urtext edition of Schumann’s “Myrthen” op. 25

Posted on February 18, 2019 by Annette Oppermann

Considering that specifically for 19th-century works the first edition is … Continue reading →

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A tear for or from Rossini?

Posted on November 12, 2018 by Annette Oppermann

November 13 marks the 150th anniversary of Gioacchino Rossini’s death, … Continue reading →

Posted in autograph, Instrumentation, Monday Postings, piano + double bass, Rossini, Gioacchino, Tobias Glöckler, Une larme (Rossini) | Tagged , , | Leave a comment

More or less – Bartók’s well-regulated markings of his piano works

Posted on July 2, 2018 by Annette Oppermann

To continue my last blog with an overview of our … Continue reading →

Posted in Bartók, Béla, Dénes Várjon, Fingering, Monday Postings, piano solo | Tagged , , | 1 Comment