For composers, commissions or dedications of works could pay off, most of the time in cash or valuables – we think of the snuffboxes popular in the 18th century –, on occasion also in positions or annual pensions. On the other hand, composing a music piece in return for preparing a meal would, however, be very unusual. But the maxim a “favourite dish for a favourite piece of music” does in fact apply to the genesis of Mendelssohn’s Concert Piece in F Minor Op. 113 (MWV Q 23) for clarinet, basset horn and piano. Continue reading
In my last blog posting I reported on my current, exciting editorial work on Mozart’s string quartets. It was about a small, but yet audible correction of a “mfp” in the cello solo of the slow movement of the second “Prussian” String Quartet K. 589. To my way of thinking, all the editions misrepresent this spot. Today’s brief posting augments this: It’s about the start of the development in the first movement of the so-called “Hoffmeister” Quartet K. 499. This spot makes still more blatantly clear why to date Mozart’s string quartets are not yet available in the best possible music edition. Continue reading
The repertoire of the G. Henle publishing house is traditionally very German-/Austrian-oriented – from Bach and Handel via Haydn, Mozart and Beethoven to Schumann, Brahms and Berg. Yet for us, 2015 is dominated by Russian music.… Continue reading
It is always a special moment whenever a new name joins the series of composers in our Urtext catalogue – and this is especially so in the current instance, because with the wind suite Mládí by Leoš Janáček (1854–1928), the 20th century in the area of Czech music also arrives at Henle publishers. That the publishing house can first bring this about in its 6th decade after founding is incidentally also fitting: it was, namely, just in this decade of Janáček’s life that he was most productive owing to private, professional and political reasons. Continue reading
The new series PianoPlus is an ideal entry and re-access to the world of classical music, and likewise for all carnival enthusiasts and carnival grouches, who would like to make music with others.
As a sensational new source proves, Ludwig van Beethoven was – one can hardly believe – of a foolish nature and not at all averse to merry making and carnival. Continue reading
Ludwig van Beethoven is one of those composers among the great masters who left behind a very large quantity of sketch material. We can hardly tell how many leaves are extant, because not all of them are publicly accessible. My personal estimate would be about 5000 leaves. This material contains a magnificent stock of sketches for known works, but also much that is unknown. Continue reading
Though Domenico Scarlatti (1685–1757) was indeed born the same year as Bach and Handel, he occupies an exceptional position amongst Baroque composers. Playing his harpsichord music is a seemingly carefree joy: virtuosic, sensuous in sound and so not at all cerebral. Continue reading
Arrangements have on occasion already come up for discussion in earlier blog postings. The reason for revisiting this subject is provided by the just-published new edition of
Claude Debussy’s Minstrels in the version for violin and piano (HN 1246).
Although the French composer adopted a rather critical attitude towards such new versions for other settings – and in fact, all the more so, the older he became –, transcriptions from Debussy’s hand have survived in astonishing numbers. One of the lesser-known arrangements of one of his own works concerns Minstrels, the
final piece in the first volume of the Préludes for piano, published in 1910. Crucial in this case was Debussy’s friendship with the violinist Arthur Hartmann. Continue reading
We most warmly thank you today for your continuing interest in the Henle Blog. We also look forward to your visits in the coming year and promise interesting postings on musical questions concerning music texts.
Today we would like to encourage you- during the upcoming holidays – to take a closer look at the different textual and musical versions of one or the other advent- or Christmas carol. Continue reading
A few weeks ago I began editorial work on a group of compositions that I have long been involved with and that I adore: Mozart’s string quartets. G. Henle publishing house will publish them complete in my new Urtext editions (parts and scores). Appearing at the end of 2015 as the first fruits of this painstaking labour will be volume 4: the “Hoffmeister Quartet” KV 499, as well as the three “Prussian Quartets” KV 575, 589 and 590. The rest of the string quartets in chronologically reverse order will then follow in the coming years. Continue reading