Category Archives: Sources

Where does the key/clef go? About a problematic passage in Schumann’s F-major string quartet

Posted on July 7, 2014 by Peter Jost

Fans of the humourist Wilhelm Busch will certainly be reminded … Continue reading →

Posted in autograph, first edition, Monday Postings, Schumann, Robert, string quartet, String Quartet op. 41 Nr. 2 (Schumann), variant reading | Tagged , , , , , , , , , | Leave a comment

Without words, but with a foreword – what’s new on Sergei Rachmaninoff’s “Vocalise”

Posted on June 24, 2014 by Dominik Rahmer

Looking at the topics of the by now more than … Continue reading →

Posted in first edition, genesis, Monday Postings, piano + voice, Rachmaninoff, Sergei, Vocalise op. 34 Nr. 14 (Rachmaninoff) | Tagged , , , , | 10 Comments

A “new” Mozart work. On the c-minor “Fantasy” (K. 396/385f) in its original setting for violin and piano

Posted on June 9, 2014 by Wolf-Dieter Seiffert

In the year 1821 three distinguished personalities met in Weimar: … Continue reading →

Posted in autograph, Fantasy K. 396(385f) (W.A. Mozart), Monday Postings, Mozart, Wolfgang Amadeus, Noah Bendix-Balgley, piano + violin, Robert D. Levin | Tagged , , , | Leave a comment

D or C♯? What does Ravel want the violinist to play in “Tzigane”?

Posted on February 3, 2014 by Peter Jost

Maurice Ravel’s concert rhapsody “Tzigane” is known to exist in … Continue reading →

Posted in autograph, Chantal Juillet, Monday Postings, Pascal Rogé, piano + violin, Ravel, Maurice, variant reading | Tagged , , , , , | 2 Comments

A wrong ‘D’ goes out into the world – Rachmaninoff’s Prélude in c sharp minor under the magnifying glass

Posted on January 20, 2014 by Dominik Rahmer

The last blog posting on 6 January has already let … Continue reading →

Posted in autograph, first edition, Monday Postings, piano solo, Prélude in c sharp minor (Rachmaninoff), Rachmaninoff, Sergei, variant reading | Tagged , , , | 14 Comments

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

HN 555 – A printing error in CPE Bach’s sonata for solo flute?

Posted on November 25, 2013 by Norbert Müllemann

These days our latest Urtext product comes from the prin­ter, … Continue reading →

Posted in Bach, Carl Philipp Emanuel, first edition, flute solo, Flute Sonata Wq 132 (C.P.E. Bach), Monday Postings, ornamentation | Tagged , , , , | Leave a comment

“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

A forgery? And if so, by whom? On the closing bars in Mozart’s Wind Quintet K. 452

Posted on September 30, 2013 by Wolf-Dieter Seiffert

The autograph of Mozart’s piano quintet for piano and four … Continue reading →

Posted in autograph, Monday Postings, Mozart, Wolfgang Amadeus, notation, versions, Wind Quintet K. 452 (W.A. Mozart) | Tagged , | 3 Comments

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