Category Archives: Composers

Attention to small details: Elgar’s notation as expression

Posted on April 15, 2013 by guest

Preparing a new edition of a work that has been … Continue reading →

Posted in autograph, Elgar, Edward, Monday Postings, notation, piano + violin, piano + violoncello, piano solo, Salut d'amour op. 12 (Elgar) | Tagged , | Leave a comment

Spring Cleaning – new setup guidelines at the Henle house

Posted on April 1, 2013 by publisher

You ought to underline today’s date in the calendar in … Continue reading →

Posted in G. Henle Publishers, Monday Postings, notation, Reger, Max, Violin | Tagged , , | 3 Comments

Wagner, Liszt, and Isolde ‘slurred’– how well do composers proofread their own works?

Posted on March 18, 2013 by Dominik Rahmer

The current Wagner year is also not going unnoticed at … Continue reading →

Posted in first edition, G. Henle Publishers, Isoldens Liebestod from "Tristan und Isolde" (Wagner/Liszt), Liszt, Franz, Monday Postings, piano solo, transcription, Wagner, Richard | Tagged , , , , , | 1 Comment

‘Come sopra’ – clearly ambiguous!

Posted on March 4, 2013 by Norbert Gertsch

The autograph of Beethoven’s piano sonata, Op. 90, is part … Continue reading →

Posted in autograph, Beethoven, Ludwig van, Claudio Arrau, first edition, Monday Postings, notation, piano solo, Piano Sonata op. 90 (Beethoven), variant reading, Wilhelm Kempff | Tagged , , , | Leave a comment

Gratis, but not for nothing – the download of the Lalo cello concerto

Posted on February 18, 2013 by publisher

Whilst browsing through the Henle publishers’ catalogue you may occasionally … Continue reading →

Posted in G. Henle Publishers, Heinrich Schiff, Lalo, Édouard, Monday Postings, piano + violoncello, variant reading, Violoncello Concerto (Lalo) | Tagged , , , , , , | 2 Comments

Brahms’s ‘Hungarian Dances’ – new finds in old sources

Posted on January 21, 2013 by Dominik Rahmer

In 2011 the Brahms researcher Michael Struck made a striking … Continue reading →

Posted in articulation, Brahms, Johannes, Hungarian Dances (Brahms), Monday Postings, notation, piano solo | Tagged , , , | Leave a comment

Gong, tamtam or cymbal crash? – Gershwin’s ‘Concerto in F’ as work in progress

Posted on December 10, 2012 by Norbert Gertsch

You know George Gershwin’s Piano Concerto and the famous place … Continue reading →

Posted in autograph, Gershwin, George, Monday Postings, Piano Concerto in F (Gershwin), sketches, Urtext | Tagged , , , , , , , | 1 Comment

A manuscript conundrum – the autograph of Gabriel Fauré’s violin sonata, Op. 13

Posted on November 26, 2012 by Peter Jost

Autograph manuscripts of musical works have an aura all their … Continue reading →

Posted in autograph, Fauré, Gabriel, Monday Postings, piano + violin, Urtext, Violin Sonata op. 13 (Fauré) | Tagged , , | Leave a comment

Setting, version, arrangement – how far may Urtext go?

Posted on October 30, 2012 by Dominik Rahmer

It is part and parcel of the idea of a … Continue reading →

Posted in Adagio and Allegro op. 70 (Schumann), Arpeggione Sonata (Schubert), arrangement, Bach, Carl Philipp Emanuel, Gamba Sonatas (Bach), Monday Postings, Schubert, Franz, Urtext | Tagged , , , , , , , | 2 Comments

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