Category Archives: Sources

Hit and miss? – A purportedly wrong note in Beethoven’s Sonata op. 14 no. 2

Posted on June 25, 2012 by Norbert Gertsch

For almost ten years now I’ve been working with Murray … Continue reading →

Posted in Beethoven, Ludwig van, first edition, Monday Postings, piano solo, Piano Sonata op. 14 nr. 2 (Beethoven), variant reading | Tagged , , | 4 Comments

Going down, coming up or on the up and up? – stumbling block in Erik Satie’s ‘2ème Gymnopédie’

Posted on June 11, 2012 by Peter Jost

At first sight Urtext editions of Satie’s piano music do … Continue reading →

Posted in autograph, first edition, Gymnopédie (Satie), Monday Postings, piano solo, Satie, Erik, Urtext | Tagged , , | Leave a comment

On the lookout for the lost measure: Bach’s C-major Prelude from the Well-Tempered Clavier I

Posted on April 16, 2012 by Norbert Müllemann

Those in the know among our readers will be aware … Continue reading →

Posted in autograph, Bach, Johann Sebastian, copy, Monday Postings, piano solo, Urtext, Well-Tempered Clavier (J.S. Bach) | Tagged , , , | 22 Comments

The “Creation” starting from scratch: Joseph Haydn’s sketches in the Complete Edition

Posted on April 2, 2012 by Annette Oppermann

It is probably well enough known that in the G. … Continue reading →

Posted in chorus + orchestra, Creation (Haydn), genesis, Haydn, Joseph, Monday Postings, sketches | Tagged , , , , , | Leave a comment

How an original Mozart A flat escaped from the dust. On the slow movement of the C- minor Piano Sonata K. 457

Posted on March 5, 2012 by Wolf-Dieter Seiffert

Very vividly I recall the Mozart sensation of the year … Continue reading →

Posted in autograph, first edition, Monday Postings, Mozart, Wolfgang Amadeus, piano solo, revision, Urtext, variant reading | Tagged , , , | 4 Comments

How the (cradle) song ends: what is the final tone of Fauré’s Berceuse?

Posted on February 20, 2012 by Dominik Rahmer

Gabriel Fauré’s Berceuse op. 16, a captivating miniature for violin … Continue reading →

Posted in Berceuse op. 16 (Fauré), Fauré, Gabriel, first edition, Monday Postings, notation, piano + violin | Tagged , , , , | Leave a comment

So, how much bass do you want? Beethoven’s Sextet Op. 81b

Posted on February 6, 2012 by Annette Oppermann

Wouldn’t you wonder, too, if you saw a sextet on … Continue reading →

Posted in Beethoven, Ludwig van, first edition, Instrumentation, Monday Postings, Sextet op. 81b (Beethoven) | Tagged , , , , | Leave a comment

“La dernière pensée musicale de Chopin” – a Sham?

Posted on January 23, 2012 by Norbert Müllemann

Mystery swirls around Chopin’s Mazurka in f minor, op. post. … Continue reading →

Posted in Chopin, Frédéric, Mazurka op. post. 68 nr. 4 (Chopin), Monday Postings, piano solo, sketches, versions | Tagged , , , , , | 2 Comments

Sometimes you have to dig deeper! Or: What the violist should really play in Hoffmeister’s concerto.

Posted on January 9, 2012 by Norbert Gertsch

Most violists groan whenever the names Hoffmeister and Stamitz are … Continue reading →

Posted in articulation, copy, dynamics, Hoffmeister, Franz Anton, Monday Postings, piano + viola, Urtext, versions, Viola Concerto (Hoffmeister) | Tagged , , , | 2 Comments

Missing bass octave in Debussy’s Prélude “Ce qu’a vu le vent d’ouest”?

Posted on December 26, 2011 by Peter Jost

Whether the Pope is infallible is anybody’s guess, but composers … Continue reading →

Posted in autograph, Debussy, Claude, first edition, Monday Postings, piano solo, Préludes (Debussy), reprint, variant reading | Tagged , , | 1 Comment