Talking Henle Editions: A Carnival Story

The seasons are moving on and the year’s fifth season is here. The bars are packed with “party animals”, all having a great time. There’s plenty to drink, even if one or the other of the well-tempered beers sometimes comes to a crash landing. Continue reading

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Debussy in Urtext – Part 1: Henle Editions from an experienced duo

Claude Debussy (1862–1918)

2012 was the 150th birthday of Claude Debussy, French music’s great innovator celebrated worldwide, and now 2018 marks the 100th anniversary of his death (25 March 1918), so that once again a Debussy year lies ahead. We’re taking this opportunity in a short series of bimonthly blog posts to present various aspects of our Debussy Urtext editions and to discuss them with you. These editions were launched in 1983, now 35 years ago, and in today’s first instalment we’d like to describe how it all came about that Debussy’s music could appear at Henle publishers. Continue reading

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Confusion surrounding Chopin’s Scherzi – episodes 2 & 3

Frédéric Chopin (1810–1849)

In my blog post of 21 March 2016, I lamented the existing “confusion” concerning the tied notes in Chopin’s 1st Scherzo. In the meantime, casually expressed, another 2 Scherzi later, 2 Scherzi more mature – and clearly even more confused, alas. The 2nd Scherzo, op. 31, and the 3rd Scherzo, op. 39, are just now appearing in my new edition. So, it makes sense to update my report from the Chopin workshop and to highlight a few problems in these editions. Therefore: “Confusion – episodes 2 & 3”! Continue reading

Posted in Chopin, Frédéric, Monday Postings, piano solo, Scherzo op. 31 (Chopin), Scherzo op. 39 (Chopin), Sources | Tagged , , | 1 Comment

What “der Weihnachtsmann” has in common with “Twinkle, Twinkle, Little Star”

Lights sparkle, candles glow, children’s eyes shine…it’s Christmastime again. Anticipation is growing, children are waiting for Santa Claus who – please, pretty please! – is supposed to bring them many presents. Continue reading

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Autographs and proofread copies for Ludwig van Beethoven’s piano sonatas – an overview

Editing a Beethoven work solely on the basis of a first print greatly challenges every editor of a scholarly edition. The composition’s music text is then available for the edition only in a more or less error-prone state. If the autograph is extant, and present are perhaps still other manuscript sources – for example, the engraver’s models for the first print, proofread by the composer himself, – then the goal of a secure music text is clearly a step closer. But, alas, the situation for Beethoven’s piano sonatas is unfortunately not especially rosy. Continue reading

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The many footnotes of Rosamunde

Franz Schubert 1797–1828

All good things come in threes – this is also true of Schubert’s string quartets at Henle, for after “Death and the Maiden” D 810 (HN 9626), and the G-major quartet D 887 (HN 9850) published several years ago, it is now the turn of the Rosamunde quartet D 804 (HN 9849), also the last of the three great Schubert string quartets represented in our catalogue, with which the composer, by his own account, wanted to “pave the way for the great symphony” in 1824. Anyone already looking at our edition may be surprised to discover here on nearly every page the, advisedly at Henle, only very sparingly placed footnotes. Is there really so much to annotate in this quartet? Continue reading

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New editions for the clarinet – Brahms and Gade

The clarinet was again featured in our recent editions of two important works to steadily expand its repertoire in our woodwinds’ catalogue.

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“Lunga e laboriosa fattica” – Attempting to interpret Mozart’s c-minor trio from the String Quartet K 465/iii

When the composer’s autograph manuscript of a music work is extant, then we have a unique opportunity of “looking over the creator’s shoulder” as the ideas are being written down. The mysterious creative process is nevertheless revealed only to those who can then question the existing autograph text, going beyond what is purely philological, editorially speaking. It is my firm conviction that here autograph corrections are the ideal way to start. The musico-analytical curiosity that asks of a correction, “Why?”, in qualitative terms, opens a door otherwise forever closed. Continue reading

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Viva la música española – Spanish music in Henle Urtext Editions

Manuel de Falla, Noches en los jardines de España, title page of the first edition

Emerging in the 19th century in nearly all of Europe were specific national styles inspired by their countries’ own folk music. This development came to Spain only relatively late, and it was French composers, curiously enough, who were initially successful with works atmospherically Spanish – we think of Georges Bizet’s Carmen or Édouard Lalo’s Symphonie espagnole. It was not until about 1880 that the public and critics became aware of equivalent works by native Spaniards, from Pablo de Sarasate via Isaac Albéniz and Enrique Granados to Manuel de Falla.

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“A Little Spring Melody”– finally in Urtext!

Many a reader will be thinking, I must be mistaken in the season: Starting the fall with a spring blog?

But my unseasonable posting has a reason. That is to say, an edition was just published in the G. Henle publishing house that contains a small piece most likely known to most of us as “Spring Melody” by the Comedian Harmonists (an arrangement of an original song version, with lyrics by Hans Lengsfelder). But what’s behind this catchy tune, and what does it have to do with the G. Henle publishers? Continue reading

Posted in arrangement, Dvořák, Antonín, G. Henle Publishers, Humoresques op. 101 (Dvořák), Monday Postings, piano solo, Urtext | Leave a comment