Dear Reader,
We most warmly thank you today for your continuing interest in the Henle Blog. We also look forward to your visits in the coming year and promise interesting postings on musical questions concerning music texts.
Today we would like to encourage you- during the upcoming holidays – to take a closer look at the different textual and musical versions of one or the other advent- or Christmas carol. Continue reading
A few weeks ago I began editorial work on a group of compositions that I have long been involved with and that I adore: Mozart’s string quartets. G. Henle publishing house will publish them complete in my new Urtext editions (parts and scores). Appearing at the end of 2015 as the first fruits of this painstaking labour will be volume 4: the “Hoffmeister Quartet” KV 499, as well as the three “Prussian Quartets” KV 575, 589 and 590. The rest of the string quartets in chronologically reverse order will then follow in the coming years. Continue reading
Musicians have long known that not only pianists and string players get to enjoy first-class Urtext editions from the Henle house – our catalogue also has on hand a rich offering for winds that we are continually expanding. The current year’s focus on the “Flute”, now just drawing to a close (see this blog posting), underlines the special attention that we are devoting to the woodwind repertoire (not to worry, we’re not leaving out the brass family). Continue reading
The new Catalogue of Works of Ludwig van Beethoven
Come on now, fess up! Haven’t you sometimes thumbed through the last chapter of a crime thriller or the dramatic denouement of a love story so that you’d know, already in advance, how it ends – even if, of course, this goes totally against the author’s wishes! What is taboo in belles lettres, though, is absolutely permissible in scholarly works. Yes, we might just as well tell all the readers of our brand new Catalogue of Works of Beethoven [HN 2207]: “Go ahead, take a look at the end!” Continue reading
On 1 November 2014 G. Henle Verlag is publishing a massive two-volume book of just under 2,000 pages – a rare and therefore special event for our house that issues almost exclusively music editions. This is a new catalogue of the works of Ludwig van Beethoven, superseding its predecessor of 1955 known as the ‘Kinsky-Halm’, anyhow, already also of around a hefty 900 pages. Continue reading
For some time past 
the G. Henle publishing house has been setting for each calendar year sales-related scheduling priorities to be accompanied by special promotions and advertising materials.
We have proclaimed 2014 the year of the study editions (catalogue and video clips here) and the flute. Continue reading
It was not without good reason that the label ‘outsider’ stuck to Satie. As of his earliest compositions he was in search of alternatives to the tonal harmony that was still the unquestioned convention when he began his training at the Paris Conservatoire (1879–87). This search runs like a red thread through all of his works, and was certainly absolutely independent of the stylistic orientation of individual works, reaching indeed, as we know, from echoes of the medieval and exotic to the then popular cabaret music. Continue reading
What would music be without rests?
We’re following suit and giving the blog postings a brief rest for the summer.
Please look forward to the next post on 15 September 2014!
G. Henle Verlag
Franz Xaver Wolfgang Mozart, 1825 (Source: Wikimedia.org, Licence: PD)
That Henle is a Mozart publisher should not come as news. Since 2011, however, we are doubly so. Our catalogue offers not only Wolfgang Amadeus Mozart’s great works for piano and chamber music as well as solo concertos, but since 2011, also Urtext editions of works by Franz Xaver Wolfgang Mozart, youngest son of the celebrated WAM.
Franz Xaver Wolfgang Mozart (1791–1844) was only four months old when his father died. High hopes were had of the offspring and everything was done to enable the progeny to follow in his father’s footsteps. He received an excellent musical education and soon enough already called himself simply “W. A. Mozart’s son” – a wrong decision, because it is hardly surprising that this legacy became more of a burden than an opportunity. Continue reading