Tempest – Les Adieux – Hammerklavier. Sense and nonsense regarding the names given to Beethoven’s piano sonatas, Part 2

In the first part of my blog on the famous popular names for Beethoven’s piano sonatas I took a closer look at ones that were given by the composer himself. In today’s entry, I’d like to examine the popular titles that probably have nothing to do with Beethoven but that are still on everyone’s lips.

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Posted in Beethoven, Ludwig van, genesis, Monday Postings, piano solo, Piano Sonata op. 7 (Beethoven), Piano Sonata op. 90 (Beethoven) | Tagged , , | Leave a comment

‘But it says in the autograph…’ – on a frequently posed question about our Urtext editions

Are you also one of those manuscript hunters on the Internet? It is, indeed, almost incredible how many music autographs have become freely accessible there these recent years. Whether we visit composers’ pages like Schubert-online or Bach-Digital or ransack the relevant portals of larger (and also smaller!) libraries: From the St. Matthew Passion to Beethoven’s Ninth, we find all sorts of exciting reading matter – stimulating also, of course, comparison with our Urtext editions. Continue reading

Posted in articulation, autograph, Brahms, Johannes, Monday Postings, Urtext, violin + orchestra, Violin Concerto (Brahms) | Tagged , , , | 4 Comments

Summer break

Time flies! Summer has arrived and our blog is taking some time off, too. Continue reading

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B(e) sharp – what would you play in Mozart’s piano variations K. 265?

Mozart over and over again: In the last blog two weeks ago, we discussed a small rhythmic problem in his d-minor string quartet, today the focus is on a questionable accidental in one of his best-known piano works. An interesting client enquiry brought to our attention the following spot in Mozart’s Twelve Variations on “Ah, vous dirai-je Maman” K. 265. Continue reading

Posted in autograph, first edition, Monday Postings, Mozart, Wolfgang Amadeus, piano solo | Tagged , , , | 1 Comment

Non-stop “lombardic” rhythm? On a minute text problem in Mozart’s d-minor String Quartet K. 421

The exceptionally lighthearted D-major Trio of the Menuetto in Mozart’s otherwise so darkly dramatic d-minor String Quartet K. 421 has always been one of my favourite pieces. The first violin, with its “pizzicato” accompaniment by the lower strings, cleverly plays there with reminiscences of folk music: on the one hand, it is quite obviously striking up a yodel, recognisable by the simple triadic melodicism flipping repeatedly from “chest” to “head” voice, just like a real alpine yodler; on the other, the entire movement is almost prototypically pervaded by the so-called “lombardic” rhythm, unmistakeable signs, for instance, of Scottish, Hungarian or Slavic folk music (recognisable in the inverse-dotted, syncopated rhythm): Continue reading

Posted in Jerusalem String Quartet, Juilliard Quartet, Monday Postings, Mozart, Wolfgang Amadeus, rhythm, string quartet, String Quartet K. 421 (W.A. Mozart) | Tagged , , | 2 Comments

“The future lion is already showing its paws” – The revision of Beethoven’s piano variations, volume 1

G. Henle publishing house is well known for putting its earlier editions to the test and updating them if necessary. Recently, the blog has reported on the new revised edition of César Franck’s violin sonata. Today, I would like to refer to the forthcoming revision of the first part of Beethoven’s piano variations (HN 1267). Continue reading

Posted in Beethoven, Ludwig van, Monday Postings, piano solo, revision, Variations WoO 63 (Beethoven), Variations WoO 65 (Beethoven) | Tagged , , | Leave a comment

Tempest – Les Adieux – Hammerklavier. Sense and nonsense regarding the names given to Beethoven’s piano sonatas

It’s so much easier to say “The Tempest”, “Pathétique” and “À Thérèse” and we can make ourselves understood so much faster than if we reel off a series of numbers – Sonata no. 17 in d minor op. 31 no. 2, or Sonata no. 8 in c minor op. 13 or Sonata no. 24 in F sharp major op. 78. But the question is how authentic are these well-known epithets? And aren’t they sometimes perhaps misleading? A brief round-up in two parts. Continue reading

Posted in autograph, Beethoven, Ludwig van, Composers, first edition, Monday Postings, piano solo, Piano Sonata op. 106 (Beethoven), Piano Sonata op. 31 nr. 2 (Beethoven), Piano Sonata op. 7 (Beethoven), Piano Sonata op. 81a Les Adieux (Beethoven) | Tagged , , | Leave a comment

Small error, large impact! About a repeat sign wandering around “In the Mists”

Leoš Janáček’s magnificent chamber music that we’re publishing in collaboration with the Wiener Universal Edition has for some years now already enhanced our catalogue with the wind sextet Mládi (HN 1093) and the witty March of the Bluebirds for piccolo and piano (HN 1143). But pianists can also look forward now to Janáček in the best quality Urtext, for meanwhile the four-part piano cycle In the Mists (HN 1247) has appeared. Here again philological thoroughness involved a lot of effort on the part of our Janáček specialist Jiří Zahrádka, for the work is extant not only in a number of autograph manuscripts, together with two, in part, heavily reworked copies, but miscellaneous printed editions exist as well.

First edition, Brno, 1913 (Brno, Moravian Museum, Janáček Archives)

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Gidon Kremer on the occasion of his 70th birthday

As early as September 2015 Dr Wolf-Dieter Seiffert, CEO of the G. Henle publishers, and Professor Friedemann Eichhorn, Director of the Kronberg Academy Masters programme, made plans to honour Gidon Kremer with a special edition on his 70th birthday. Both wished to celebrate the outstanding musician with a Henle Urtext edition that would reflect Gidon Kremer’s artistic ambitions, therefore something simultaneously special, in line with the classical profile of our catalogue. Friedemann Eichhorn was successful in getting Kremer on board and available for the project about a year ago: It was to be an edition of Ludwig van Beethoven’s violin concerto, based on the Henle Urtext edition, but becoming the Gidon Kremer Edition by way of the violinist’s personal touch. Kremer contributed fingerings and bowings for the violin part, provided an essay on Beethoven interpretation and selected cadenzas especially close to his heart. The result is a unique edition, enabling every violinist to come to grips with this perhaps most magnificent of violin concertos in music history from Gidon Kremer’s personal perspective. On this personal note, which – and here Kremer attaches great importance to this – is always to be at the service of the work, Friedemann Eichhorn could do a brief interview with Gidon Kremer: Continue reading

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“At the Piano” – lends colour to the Henle catalogue!

Even the visual design is a little revolution for Henle: after being in publishing for nearly 70 years we are for the first time bringing out a series of Urtext piano editions without just the classic blue cover, but with a sort of bright yellow horizontal “branding” mark added – and with good reason, since our new series “At the Piano” is forging a new path in many respects. Continue reading

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