Category Archives: Instrumentation

“Hark, Hark! The Joy Inspiring Horn” – Discoveries in Schumann’s Konzertstück, Opus 86

Posted on October 28, 2013 by Dominik Rahmer

For pianists and string players, especially, the name Henle stands … Continue reading →

Posted in autograph, Concert Piece op. 86 (Schumann), first edition, G. Henle Publishers, horn, Monday Postings, notation, Schumann, Robert | Tagged , , , , , , | Leave a comment

Wieniawski’s Scherzo-Tarantella, op. 16: Structural designs for a synthesis between a tarantella and a scherzo?

Posted on October 14, 2013 by gast

As noted in the Preface to the Henle edition of … Continue reading →

Posted in genesis, Monday Postings, piano + violin, Scherzo-Tarantella op. 16 (Wieniawski), versions, Wieniawski, Henryk | Tagged , , , | 4 Comments

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

Ossia and Da Capo – Confusion in Schumann’s Papillons, Op. 2

Posted on September 2, 2013 by Norbert Gertsch

Sometimes a conundrum can’t be solved, even when the source … Continue reading →

Posted in Alfred Cortot, autograph, Claudio Arrau, dynamics, first edition, Jörg Demus, Monday Postings, Papillons op. 2 (Schumann), piano solo, Schumann, Robert, Sviatoslav Richter, variant reading, Wilhelm Kempff | Tagged , , , | Leave a comment

Filched Melodies – Sarasate’s ‘Zigeunerweisen’ (Gypsy Airs) under suspicion of plagiarism

Posted on August 19, 2013 by Peter Jost

The use of folk-music elements in art music has, as … Continue reading →

Posted in genesis, Gypsy Airs op. 20 (Saraste), Monday Postings, piano + violin, Saraste, Pablo de | Tagged , , | 5 Comments

“Liebestod” revisited – yet more problems in Franz Liszt’s transcription of Wagner

Posted on August 5, 2013 by Dominik Rahmer

Some time ago we had previously devoted a blog post … Continue reading →

Posted in autograph, first edition, Isoldens Liebestod from "Tristan und Isolde" (Wagner/Liszt), Liszt, Franz, Monday Postings, notation, piano solo, transcription, Wagner, Richard | Tagged , , , , , | 2 Comments

Schubert deletes, Brahms restores. On the first of the three posthumous piano pieces (Impromptus) D 946 by Franz Schubert

Posted on July 22, 2013 by Wolf-Dieter Seiffert

Schubert did not live to see the publication of his … Continue reading →

Posted in Andreas Staier, autograph, Brahms, Johannes, first edition, Impromptus D 946 (Schubert), Monday Postings, piano solo, Schubert, Franz, Sviatoslav Richter | Tagged , , , , , , | 15 Comments

“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

“una corda” – “con sord.” – “mit Verschiebung”: How do I ‘mute’ my piano?

Posted on June 24, 2013 by Norbert Müllemann

Many piano students are not going to believe their eyes … Continue reading →

Posted in Beethoven, Ludwig van, Monday Postings, notation, piano solo, Schumann, Robert, Scriabin, Alexander | Tagged , , , , | 3 Comments

Climax, more or less – e flat or e in Islamey?

Posted on June 10, 2013 by Norbert Gertsch

Mily Balakirev’s showpiece Islamey, already certified, so to speak, as … Continue reading →

Posted in autograph, Balakirev, Milij, first edition, Islamey (Balakirev), Monday Postings, piano solo, variant reading | Tagged , , | Leave a comment