Too much access! – Isaac Albéniz revises his Iberia cycle

Posted on October 1, 2012 by Norbert Gertsch

Editors of sheet music are not alone in suffering from the problem of bringing a project to an end at some point – composers, too, were and are regularly confronted with it. Felix Mendelssohn-Bartholdy, for instance, is notorious for having still continued composing in the galley proofs of the engraving plates during publication of his works. Continue reading →

Posted in Albéniz, Isaac, autograph, first edition, Iberia (Albéniz), Monday Postings, piano solo, reprint, revision | Tagged , , , , | 3 Comments

Scriabin plays Scriabin – Is the finale of the 3rd piano sonata too difficult?

Posted on September 17, 2012 by Norbert Müllemann

Alexander Scriabin (1872–1915) was not only one of the outstanding composers in Russia around 1900. Time and again he also appeared publicly as pianist – especially as interpreter of his own works. His compositions are at present among the standard items in the concert repertoire, but today we can also still get an idea of his piano playing. Continue reading →

Posted in Monday Postings, piano solo, Piano Sonata Nr. 3 op. 23 (Scriabin), Scriabin, Alexander | Tagged , , | 8 Comments

The crux of sharp or flat: Just enough cautionary accidentals? or are extras o.k., too?

Posted on September 3, 2012 by Peter Jost

Our editorial department is always receiving queries from users requesting information on certain passages in the sources: ‘Is it really that way in the autograph?’ or: ‘Is it actually the same in the first edition?’ Continue reading →

Posted in Bourrée fantasque (Chabrier), Gnossienne (Satie), Monday Postings, notation, Piano Concerto K. 503 (W.A. Mozart), Piano Sonatina (Ravel), Violin Sonata op. 13 (Fauré) | Tagged , , , , , | 6 Comments

Will versus Caprice. On the the closing measures of Robert Schumann’s C-major Fantasy op. 17

Posted on August 20, 2012 by Wolf-Dieter Seiffert

What you can see here is the last page of Robert Schumann’s C-major Fantasy op. 17 is in the handwriting of the copyist Carl Brückner of Leipzig. Continue reading →

Posted in autograph, Fantasy op. 17 (Schumann), Monday Postings, piano solo, Schumann, Robert, variant reading | Tagged , , | 7 Comments

‘Play it again’ – is a repeat sign missing in Brahms’ Paganini Variations?

Posted on August 6, 2012 by Dominik Rahmer

Some time ago we received an interesting query from a pianist who had come across something formally odd in Johannes Brahms’ Variationen über ein Thema von Paganini op. 35. As we know, Brahms too was inspired by Nicolò Paganini’s 24 Capricci op. 1 for violin solo, as were already earlier Schumann and Liszt. Continue reading →

Posted in autograph, Brahms, Johannes, first edition, Monday Postings, notation, Paganini Variations op. 35 (Brahms), piano solo | Tagged , , , , , | Leave a comment

“Rock” or “stone”? Schumann’s text changes in “Liederkreis” op. 39 on poems by Joseph von Eichendorff

Posted on July 23, 2012 by Annette Oppermann

You know the Lorelei? You know that from the high cliff at St. Goar she peered into the depths of the Rhine (disastrously for many) … But not for Henle in our edition of the Liederkreis op. 39 (HN 550): following a Schumann text revision in Waldesgespräch, Lorelei’s castle is said to be on a “Fels” [rock] – lost, of course, is the Eichendorff “Stein” [stone] rhyming with “Rhein”, but the conciseness of the expression is enormously enhanced. Whether such deviations from a song text model are permissible, rational or as errors to be corrected where possible in a reliable edition, is a much-discussed question that faces any editor of a lieder edition. Continue reading →

Posted in autograph, first edition, Liederkreis op. 39 (Schumann), Monday Postings, piano + voice, Schumann, Robert | Tagged , , , | Leave a comment

‘Fontana’s version’ – genuine Chopin?

Posted on July 9, 2012 by Norbert Müllemann

A glance at the table of contents in our Urtext edition of Frédéric Chopin’s Waltzes (HN 131, 230, 9131) may already have put a frown on the faces of many Chopin enthusiasts. Such famous pieces as the Waltzes op. posth. 69 & 70, published only after Chopin’s death, are being offered in two versions: first, in a ‘version according to the autograph’, followed by a ‘version according to Fontana’. Continue reading →

Posted in Chopin, Frédéric, Monday Postings, piano solo, Urtext, variant reading, versions, Waltzes (Chopin) | Tagged , , | 9 Comments

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 Perahia as co-editor of a new edition of Ludwig van Beethoven’s piano sonatas. Ten sonatas have appeared meanwhile, and I promise you it won’t take another twenty years to get the other sonatas ready!

Among the already published sonatas is that in G major op. 14 no. 2 (Sonata ‘No. 10’ in case you’d rather count them). 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 not seem to pose any great challenge. Continue reading →

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

Getting the accents right. On the Rondo theme in Schubert’s “Arpeggione” Sonata (3rd movement)

Posted on May 28, 2012 by Wolf-Dieter Seiffert

Tabea Zimmermann, the fabulous violist, writes: Continue reading →

Posted in accent, Arpeggione Sonata (Schubert), Monday Postings, notation, piano + viola, Schubert, Franz | Tagged , , , | Leave a comment