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- ‘Le Maître des Charmes’ – On the 100th anniversary of Gabriel Fauré’s death
- The elders’ errors tenaciously persist. On the violin solo entry in Mozart’s D-major Violin Concerto, K. 218
- Arnold Schönberg on his 150th birthday – the truth in the music (and in the edition)
- If we hadn’t had the chance… the rediscovery of a new Prokofiev source
- Summer break
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Category Archives: Mozart, Wolfgang Amadeus
An unaccountable (?) fermata notation in Mozart’s string quartet K. 428
That Mozart, when writing carefully, graphically distinguishes between the dot … Continue reading
Posted in accent, Monday Postings, Mozart, Wolfgang Amadeus, string quartet
Tagged KV 428, Mozart
8 Comments
“Lunga e laboriosa fattica” – Attempting to interpret Mozart’s c-minor trio from the String Quartet K. 465/iii
When the composer’s autograph manuscript of a music work is … Continue reading
B(e) sharp – what would you play in Mozart’s piano variations K. 265?
Mozart over and over again: In the last blog two … Continue reading
Posted in autograph, first edition, Monday Postings, Mozart, Wolfgang Amadeus, piano solo
Tagged accidentals, Mozart, piano variations, sharp
2 Comments
The charm of the unsettling. A special autograph correction of Mozart’s in the finale of the F-major string quartet K. 590
Mozart connoisseurs and admirers know of course about what is … Continue reading
Further new findings on the autograph of Mozart’s Piano Sonata in A major K. 331
Regular readers of the Henle blog will recollect: My last … Continue reading
The music world will sit up and take notice! On the new Urtext edition of Mozart’s Piano Sonata in A Major KV 331
You presumably know Mozart’s A-major Piano Sonata KV 331 (with … Continue reading
On a terribly wrong dynamic marking in the first movement of K. 499
In my last blog posting I reported on my current, … Continue reading
“It’s all so wonderful!” On the new edition of Mozart’s string quartets
A few weeks ago I began editorial work on a … Continue reading
A “new” Mozart work. On the c-minor “Fantasy” (K. 396/385f) in its original setting for violin and piano
In the year 1821 three distinguished personalities met in Weimar: … Continue reading