Category Archives: Subject

How to drive the devil out of a waltz or: Liszt’s Mephisto Waltz for everybody?

Posted on April 30, 2012 by Norbert Gertsch

It’s still ringing in your ears, this warhorse for orchestra … Continue reading →

Posted in arrangement, Liszt, Franz, Mephisto Waltz (Liszt), Monday Postings, piano solo, versions | 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 , , , | 23 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

Curiosity pays off. The genesis of Maurice Ravel’s piano ‘Sonatine’

Posted on March 19, 2012 by Peter Jost

In 2011 when I began preparing a new edition of … Continue reading →

Posted in genesis, Monday Postings, piano solo, Piano Sonatina (Ravel), Ravel, Maurice | Tagged , , , , | 1 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 , , , | 6 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

“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

How does Chopin’s Second Ballade end?

Posted on November 30, 2011 by Norbert Müllemann

Many pianists are familiar with the problem that there are … Continue reading →

Posted in autograph, Ballades (Chopin), Chopin, Frédéric, first edition, Monday Postings, piano solo, versions | Tagged , , | Leave a comment