You ought to underline today’s date in the calendar in red: this is the day that the G. Henle publishing house is introducing new and trailblazing guidelines for the setup of selected titles in the chamber-music repertoire. In the future, enclosed alongside both single parts contained up to now – provided in the Urtext together with fingerings and bowings – will be a third part, the so-called cleaned-up part. Continue reading
Search
Subscribe2
-
Recent Posts
- An anniversary tribute 200 years after his death: Carl Maria von Weber’s Bassoon Concerto, op. 75, now available in Henle Urtext
- Fanny Hensel’s Lieder on the Rise
- It Doesn’t Always Have to Be Blue – Bach in Yellow
- Just a bit of Passacaglia?
- “My obsession with improvement is a chronic, incurable affliction”. On Liszt’s Piano Concerto No. 2
Tags
accidentals arrangements autograph Bach Bartók Beethoven Brahms Carnival Chopin Christmas clarinet Debussy Double bass Dvorak facsimile Fauré fingering first edition genesis Haydn Hoffmeister horn Liszt Mendelssohn Mozart notation piano piano concerto piano sonata Rachmaninoff Ravel revision Saint-Saëns Satie Schubert Schumann string quartet urtext variant reading variants variations versions viola violin Violin Sonata
How much verbal text can music tolerate?
A serious scholarly book publication can be recognized by the footnotes – and in a way this also applies to musical Urtext editions, because here too it is imperative to base the printed music text on appropriate evidence. Where and how this is done depends though on many parameters – amongst other things, on the question of how much verbal text the music or the practicing musician will put up with. Continue reading →