Author Archives: Annette Oppermann

Better late than never: Leoš Janáček at Henle publishers

Posted on March 2, 2015 by Annette Oppermann

It is always a special moment whenever a new name … Continue reading →

Posted in autograph, copy, first edition, G. Henle Publishers, Janácek, Leos, Mládí (Janácek), Monday Postings, winds | Tagged , , , | Leave a comment

Read the end first!

Posted on November 10, 2014 by Annette Oppermann

Come on now, fess up! Haven’t you sometimes thumbed through … Continue reading →

Posted in Beethoven, Ludwig van, G. Henle Publishers, Monday Postings | Tagged , , , | Leave a comment

The lord of the low tones – Tobias Glöckler in conversation about Dragonetti’s “Famous Solo”

Posted on March 17, 2014 by Annette Oppermann

The double bass entered the Henle publishers’ catalogue a few … Continue reading →

Posted in Dittersdorf, Karl Ditters von, double bass, Double Bass Concerto (Dittersdorf), Double Bass Concerto (Hoffmeister), Dragonetti, Domenico, Famous Solo (Dragonetti), Hoffmeister, Franz Anton, Monday Postings, Tobias Glöckler, Urtext | Tagged , , , , , , , , , , | Leave a comment

Why facsimiles, actually?

Posted on December 9, 2013 by Annette Oppermann

The blue Urtext editions certainly amount to the lion’s share … Continue reading →

Posted in autograph, facsimile, G. Henle Publishers, Monday Postings, notation, Schubert, Franz, Violin Sonata op. 137 (Schubert) | Tagged , , , , , , , , , | Leave a comment

High time for the low register – the double bass conquers the Henle catalogue

Posted on September 16, 2013 by Annette Oppermann

The strings, together with the main instrument, piano, have all … Continue reading →

Posted in Dittersdorf, Karl Ditters von, double bass, Double Bass Concerto (Dittersdorf), Double Bass Concerto (Hoffmeister), Dragonetti, Domenico, Famous Solo (Dragonetti), G. Henle Publishers, Hoffmeister, Franz Anton, Monday Postings, Tobias Glöckler, Urtext | Tagged , , , | 1 Comment

“Adelaide” – a song goes round the world

Posted on July 8, 2013 by Annette Oppermann

The German art song does indeed famously enjoy great popularity, … Continue reading →

Posted in Adelaide op. 46 (Beethoven), Beethoven, Ludwig van, Monday Postings, piano + voice | Tagged , , , | 1 Comment

Totally, seriously – clearing it out is part of it!

Posted on April 29, 2013 by Annette Oppermann

Any of you who not only had a hearty laugh … Continue reading →

Posted in autograph, Clarinet Sonata op. 107 (Reger), Monday Postings, notation, piano + clarinet, Reger, Max | Tagged , | Leave a comment

How much verbal text can music tolerate?

Posted on January 7, 2013 by Annette Oppermann

A serious scholarly book publication can be recognized by the … Continue reading →

Posted in G. Henle Publishers, Monday Postings, Urtext | Tagged , , | 1 Comment

What’s the shelf life of Urtext? Revising at Henle publishers

Posted on October 15, 2012 by Annette Oppermann

When you look carefully at our recent publications you’ll also … Continue reading →

Posted in Ballades (Chopin), Beethoven, Ludwig van, Brahms, Johannes, Chopin, Frédéric, G. Henle Publishers, Grand Fugue op. 134 (Beethoven), Monday Postings, Mozart, Wolfgang Amadeus, new source, revision, Schumann, Robert, Toccata op. 7 (Schumann), Urtext | Tagged , , , , , | Leave a comment

“Rock” or “stone”? Schumann’s text changes in “Liederkreis” op. 39 on poems by Joseph von Eichendorff

Posted on July 23, 2012 by Annette Oppermann

You know the Lorelei? You know that from the high … Continue reading →

Posted in autograph, first edition, Liederkreis op. 39 (Schumann), Monday Postings, piano + voice, Schumann, Robert | Tagged , , , | Leave a comment