Category Archives: autograph

Anton Webern: Now also “in blue”!

Posted on July 25, 2016 by Norbert Müllemann

We are always welcoming new composers to our Henle catalogue. … Continue reading →

Posted in autograph, G. Henle Publishers, Glenn Gould, Monday Postings, piano solo, Urtext, Variations op. 27 (Webern), Webern, Anton | Tagged , , , | 1 Comment

A “bad apple” in Camille Saint-Saëns’ 2nd cello sonata?

Posted on May 30, 2016 by Peter Jost

Saint-Saëns was likely far from the “genius thinking” of romanticism. … Continue reading →

Posted in autograph, first edition, Monday Postings, notation, piano + violoncello, pitch range, Saint-Saëns, Camille, Sonata for Violoncello and Piano no. 2 in F major op. 123 (Saint-Saëns), variant reading, versions | Tagged | 1 Comment

A peek through the keyhole – Bartók’s “Allegro barbaro” as forerunner of the complete edition

Posted on April 18, 2016 by Annette Oppermann

With Béla Bartók, we have added a new composer to … Continue reading →

Posted in Allegro barbaro BB 63 (Bartók), autograph, Bartók, Béla, Composers, Monday Postings, piano solo, variant reading | Tagged | Leave a comment

Confusion about ties in Chopin’s Scherzo in b minor

Posted on March 21, 2016 by Norbert Müllemann

That Chopin variants can be exasperating to an editor – … Continue reading →

Posted in articulation, Auguste Franchomme, autograph, Chopin, Frédéric, Composers, Ferdinand Hiller, first edition, letter, Monday Postings, piano solo, Scherzo in b minor op. 20 (Chopin) | 1 Comment

Henry Vieuxtemps’s 5th Violin Concerto newly outfitted – Interview with Marie Cornaz and Ray Iwazumi

Posted on March 7, 2016 by Peter Jost

Among the just about one hundred compositions that the violin … Continue reading →

Posted in 5. Violin Concerto in a minor op. 37 (Vieuxtemps), autograph, Monday Postings, piano + violin, sketches, Urtext, Vieuxtemps, Henry, violin + orchestra, Ysaÿe, Eugène | Tagged , | Leave a comment

The “parallel passage” – handle with care…

Posted on January 11, 2016 by Dominik Rahmer

If the ideal goal of a critical Urtext edition may … Continue reading →

Posted in articulation, autograph, first edition, Grieg, Edvard, Monday Postings, piano solo, variant reading | Tagged , , | Leave a comment

What’s new with Liszt’s b-minor sonata

Posted on November 23, 2015 by Norbert Müllemann

  With barely concealed exasperation Clara Schumann writes on 25 … Continue reading →

Posted in accent, autograph, Claudio Arrau, copy, dynamics, facsimile, first edition, Liszt, Franz, Marc-André Hamelin, Monday Postings, new source, notation, piano solo, Piano Sonata b-minor (Liszt), revision, Urtext | Tagged , , , , | Leave a comment

A Bohemian in America: Is Dvořák’s String Quartet in F Major wrongly accented?

Posted on November 9, 2015 by Peter Jost

Antonín Dvořák, director of the National Conservatory of Music in … Continue reading →

Posted in accent, articulation, autograph, Dvořák, Antonín, first edition, G. Henle Publishers, Monday Postings, notation, Pražák Quartett, string quartet, String Quartet F major op. 96 (American Quartet) (Dvořák) | Tagged , , , , | 2 Comments

Further new findings on the autograph of Mozart’s Piano Sonata in A major K. 331

Posted on October 26, 2015 by Wolf-Dieter Seiffert

Regular readers of the Henle blog will recollect: My last … Continue reading →

Posted in autograph, General, Monday Postings, Mozart, Wolfgang Amadeus, notation, piano solo, Piano Sonata K. 331 (W.A. Mozart) | Tagged , , | Leave a comment

Who does the pedalling? On the use of the pedal in music for piano duets

Posted on July 20, 2015 by Norbert Müllemann

Nowadays we automatically associate music for piano duet with the … Continue reading →

Posted in autograph, first edition, Monday Postings, notation | Tagged , , , | 7 Comments