Category Archives: notation

A wonderful little devilry to start with

Posted on December 9, 2024 by Andreas Pernpeintner

When you’re new to an enterprise, it’s very agreeable when … Continue reading →

Posted in autograph, Fingering, first edition, Monday Postings, notation, piano solo, Ravel, Maurice, variant reading | Tagged , , , , , | Leave a comment

Arnold Schönberg on his 150th birthday – the truth in the music (and in the edition)

Posted on September 9, 2024 by Norbert Müllemann

For me, this Arnold Schönberg quotation expresses the composer’s attitude … Continue reading →

Posted in Monday Postings, notation, piano solo, Schoenberg, Arnold, Urtext | Tagged , , , | Leave a comment

Elgar’s Serenade for Strings: spring sunshine garbed in Henle Urtext. Interview with Rupert Marshall-Luck

Posted on February 12, 2024 by Norbert Müllemann

The start of 2024 is a special moment for the … Continue reading →

Posted in autograph, Elgar, Edward, first edition, Monday Postings, notation, string orchestra, Urtext, variant reading | Tagged , , , , , , | Leave a comment

An annoying mini-error in Mozart’s Violin Concerto K. 219

Posted on October 17, 2022 by Wolf-Dieter Seiffert

Recently, David Perry, a Canadian violinist, criticised what he considered … Continue reading →

Posted in autograph, Monday Postings, Mozart, Wolfgang Amadeus, notation, revision, violin + orchestra | Tagged , , | 4 Comments

A new star in the Henle firmament – Béla Bartók Complete Critical Edition

Posted on January 30, 2017 by Annette Oppermann

After nearly three decades the time was ripe for a … Continue reading →

Posted in Bartók, Béla, Monday Postings, notation, piano solo, transcription | 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

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