The second edition naming the two composers, Bach · Busoni, on the cover is going to appear shortly in the Henle catalogue. Busoni’s famous arrangement of the no less famous Bach chaconne has already been available here for some time. To follow now are the 10 chorale preludes.
We must almost say 11½ chorale preludes, for added in our edition to the well-known 10 organ arrangements is, on the one hand, a second version of no. 1 (“Komm, Gott, Schöpfer”), now being made available for the first time since it was originally published in 1916; this second version, only part of which is a truly new music text, may count as “half” of a new chorale prelude. The transcription of the organ chorale prelude “Aus tiefer Not schrei’ ich zu dir” is, on the other hand, a completely new work. Our editors discovered the piece in Busoni’s estate (Staatsbibliothek zu Berlin · Preußischer Kulturbesitz). The source can meanwhile be viewed digitalized; the work is now appearing, though, for the first time in an Urtext edition. Continue reading
In part 1 of this little “Behind the scenes” blog, I wrote about the demands of realising our Urtext editions in an app that made the most of the medium. I also discussed what this meant as far as the layout of the musical text was concerned and how we needed to be as flexible as possible. In today’s post we’ll be looking at a few of the additional functions and the presentation of the non-music texts in our editions. Continue reading
With Béla Bartók, we have added a new composer to our 2016 catalogue – always a special event for an Urtext publisher, and even a double pleasure in this case: The first is that we’re starting this year a huge, 48-volume complete critical edition of this composer’s works; The second is that (initially) his piano works are to appear in the blue Urtext editions for the practicing musician.
By guest author Alex Ross
“What other work is so full of silence?” (András Schiff)
The other day, I sat with Sir András Schiff, the Hungarian-born, British-based pianist, in a practice room at Walt Disney Concert Hall, in Los Angeles, contemplating a great musical mystery: the trill in the eighth measure of Schubert’s Piano Sonata in B-Flat, D. 960. Continue reading
That Chopin variants can be exasperating to an editor – who has to do everything possible to provide the musician with one valid text – is well enough known. The idea that we are not alone in our exasperation can, however, be comforting. This in any case happened to me when I began to prepare a revised edition (HN 1334) of the 1st Scherzo in b minor. I came across a document by the famous Chopin pupil and editor Karol Mikuli that shows considerable perplexity. Continue reading
Posted in articulation, Auguste Franchomme, autograph, Chopin, Frédéric, Composers, Ferdinand Hiller, first edition, letter, Monday Postings, piano solo, Scherzo in b minor op. 20 (Chopin)
Among the just about one hundred compositions that the violin virtuoso Henry Vieuxtemps left to posterity, the 5th Violin Concerto in a minor op. 37 is certainly regarded as his by far best-known and best-loved work. It owes its popularity not only to its brilliant violin part, but also to its original form in three movements passing seamlessly without pause from one to the other. Continue reading
Posted in 5. Violin Concerto in a minor op. 37 (Vieuxtemps), autograph, Monday Postings, piano + violin, sketches, Urtext, Vieuxtemps, Henry, violin + orchestra, Ysaÿe, Eugène
Tagged Vieuxtemps, Violin Concerto
So when did the penny finally drop at the publishing house that Henle editions can be more than just print editions? In my case this happened in March 2011 when I gave a talk about what Urtext means at the Music Teachers National Association (MTNA) conference in Milwaukee. And all anyone wanted to talk to me about was the iPad! Continue reading
Carnival, Mardi Gras, Fasching: Today, Carnival Monday (“Rosenmontag” in German) is also being celebrated in Munich – although somewhat less exuberantly than in Cologne or Mainz.
So, just for fun in today’s blog posting we are zooming in on our Urtext catalogue since you’ll find several “silly” compositions stashed away even there. You want to know which ones? Continue reading
As of today we can put all rumours to rest. It’s true: Henle Urtext has gone digital. The global launch of the “Henle Library” app, in German, English and Chinese, for Apple’s iPad, is 3 February 2016 (for Android tablets it’s May 2016). Our app will be a valuable tool for musicians when practising, rehearsing and performing.
Here’s a brief overview, an “appetizer”, exclusively for our blog readers:
Right from the start it was clear to us at Henle Publishers that it wasn’t enough just to offer our Urtext editions in digital form for PDF readers. Continue reading
If the ideal goal of a critical Urtext edition may be said to be finding out and representing what the composer “actually intended”, then consulting all the relevant sources for the work, comparing them and evaluating their differences is above all its fundamental task.
Yet this alone is as a rule not enough. For a composer to have a slip of the pen or to forget a sign by mistake (accidentals, typically) is not unusual, and then all subsequent sources such as copies and first prints may take this mistake over blindly. Such errors throughout cannot be detected, though, by merely comparing all the sources with each other. So it is always necessary in addition to check the music text for consistency in itself, regardless of what the sources show. (The edition must also be to a certain extent “critical” towards the composer.)