‘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

Debussy: to finger or not to finger…? Why we are adding fingering in the “Études”

Posted on May 14, 2012 by Dominik Rahmer

In summer 1915 in the solitude of Pourville, the small seaside resort in Normandy, Claude Debussy finished his last major piano work, Douze Études pour le piano. To the 12 etudes in the printed edition that appeared the following year, he prefixed a somewhat curious comment in his inimitable style. Continue reading →

Posted in Debussy, Claude, Douze Études (Debussy), Monday Postings, piano solo, Urtext | Tagged , , , , , , | 2 Comments

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 or for a pianist. Doesn’t it – when convincingly interpreted – almost drive you crazy with its wild, diabolical tempo, its sensual surge in the slow middle part? And now honestly, for once: Can you even whistle a tune from Liszt’s Faust symphony? 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 that wandering through the music world like a ghost is an extra measure at the famous opening of Bach’s Well-Tempered Clavier I. It goes by the name of ‘Schwencke measure’. Continue reading →

Posted in autograph, Bach, Johann Sebastian, copy, Monday Postings, piano solo, Urtext, Well-Tempered Clavier (J.S. Bach) | Tagged , , , | 24 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. Henle publishing house there are not only the blue Urtext editions, but also major complete-edition volumes of works by Haydn, Beethoven and Brahms. Ultimately, in fact, these volumes also reliably ground our practical editions of these composers. But you may not have already realized that in these volumes, alongside the scores of all a composer’s works, you can also find earlier versions and even sketches – and perhaps many of you will even wonder what music sketches really are and for what reason they are published in a complete edition? 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 Maurice Ravel’s piano Sonatine, I could not have imagined that I would discover anything new. 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 1990: In Philadelphia a librarian discovered a Mozart autograph while dusting. Continue reading →

Posted in autograph, first edition, Monday Postings, Mozart, Wolfgang Amadeus, piano solo, revision, Urtext, variant reading | Tagged , , , | 6 Comments