Musicians have long known that not only pianists and string players get to enjoy first-class Urtext editions from the Henle house – our catalogue also has on hand a rich offering for winds that we are continually expanding. The current year’s focus on the “Flute”, now just drawing to a close (see this blog posting), underlines the special attention that we are devoting to the woodwind repertoire (not to worry, we’re not leaving out the brass family). Continue reading
The new Catalogue of Works of Ludwig van Beethoven
Come on now, fess up! Haven’t you sometimes thumbed through the last chapter of a crime thriller or the dramatic denouement of a love story so that you’d know, already in advance, how it ends – even if, of course, this goes totally against the author’s wishes! What is taboo in belles lettres, though, is absolutely permissible in scholarly works. Yes, we might just as well tell all the readers of our brand new Catalogue of Works of Beethoven [HN 2207]: “Go ahead, take a look at the end!” Continue reading
On 1 November 2014 G. Henle Verlag is publishing a massive two-volume book of just under 2,000 pages – a rare and therefore special event for our house that issues almost exclusively music editions. This is a new catalogue of the works of Ludwig van Beethoven, superseding its predecessor of 1955 known as the ‘Kinsky-Halm’, anyhow, already also of around a hefty 900 pages. Continue reading
For some time past the G. Henle publishing house has been setting for each calendar year sales-related scheduling priorities to be accompanied by special promotions and advertising materials.
We have proclaimed 2014 the year of the study editions (catalogue and video clips here) and the flute. Continue reading
It was not without good reason that the label ‘outsider’ stuck to Satie. As of his earliest compositions he was in search of alternatives to the tonal harmony that was still the unquestioned convention when he began his training at the Paris Conservatoire (1879–87). This search runs like a red thread through all of his works, and was certainly absolutely independent of the stylistic orientation of individual works, reaching indeed, as we know, from echoes of the medieval and exotic to the then popular cabaret music. Continue reading
What would music be without rests?
We’re following suit and giving the blog postings a brief rest for the summer.
Please look forward to the next post on 15 September 2014!
G. Henle Verlag
Franz Xaver Wolfgang Mozart, 1825 (Source: Wikimedia.org, Licence: PD)
That Henle is a Mozart publisher should not come as news. Since 2011, however, we are doubly so. Our catalogue offers not only Wolfgang Amadeus Mozart’s great works for piano and chamber music as well as solo concertos, but since 2011, also Urtext editions of works by Franz Xaver Wolfgang Mozart, youngest son of the celebrated WAM.
Franz Xaver Wolfgang Mozart (1791–1844) was only four months old when his father died. High hopes were had of the offspring and everything was done to enable the progeny to follow in his father’s footsteps. He received an excellent musical education and soon enough already called himself simply “W. A. Mozart’s son” – a wrong decision, because it is hardly surprising that this legacy became more of a burden than an opportunity. Continue reading
Posted in Monday Postings
Tagged anniversary, Diabelli-Variations, Don Giovanni-Minuet, flute rondo, Franz Xaver Wolfgang, Henle, HN 1180, HN 958, HN 959, Karsten Nottelmann, Katalog, Mozart, Polonaises mélancholiques, son, urtext, variations
Fig. 1, from: Wilhelm Busch, "Eine kalte Geschichte" (1878)
Fans of the humourist Wilhelm Busch will certainly be reminded of the story of Master Zwiel who, upon returning from a tavern on a cold winter’s night, stands at his front door with key already in hand and vainly seeks the keyhole.
The story ends tragically: Master Zwiel loses the key and falls while searching for it into a water barrel where he finally freezes to death.
The finale of Robert Schumann’s string quartet in F major, Op. 41 No. 2, is not, in fact, quite so dangerous for violists, but there is a connection with Master Zwiel. For the musician also has in hand a key, as it were, but has to search for the matching keyhole – that is, the correct position for the key. [Translator’s note: The German word Schlüssel means both ‘key’ (as used in music notation and as well as in a lock) and ‘clef’, making sense here of the pun.] Continue reading
Looking at the topics of the by now more than 70 postings of this blog, most of them deal with questions of musical notation – accidentals, pitch or articulation and dynamics. This is of course not surprising, yet working with musical sources and producing correct and reliable music texts are central in our business. Continue reading