Author Archives: Peter Jost

Abandoned, alas! – Beethoven’s unfinished works

Posted on November 9, 2020 by Peter Jost

In the run-up to the Beethoven anniversary year, I kept … Continue reading →

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Beethoven – creator of concert overtures?

Posted on September 28, 2020 by Peter Jost

Beethoven as the great innovator of forms and genres generated … Continue reading →

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“The Hammerklavier Sonata opened the door for me” – Interview with Ian Fountain on Beethoven’s piano music

Posted on June 29, 2020 by Peter Jost

Today we’d like to continue our series of musicians’ views … Continue reading →

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“Beethoven Complete” – part 2: from the Old to the New Complete Edition

Posted on May 18, 2020 by Peter Jost

A few weeks ago my colleague Annette Oppermann reported on … Continue reading →

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Quality: especially valuable – the galley proofs in Fauré’s 1st Cello Sonata op. 109

Posted on October 14, 2019 by Peter Jost

There is always a risk in producing an engraved plate … Continue reading →

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What did the composer want? On a strange measure in Saint-Saëns’ Romance for Flute op. 37

Posted on June 24, 2019 by Peter Jost

Anyone who compares the edition currently on the market of … Continue reading →

Posted in Monday Postings, op. 37 (Saint-Saëns), piano + flute, Romance, Saint-Saëns, Camille, versions | Tagged , | 1 Comment

Is that still Urtext? On an often played variant in Sarasate’s “Carmen Fantasy”

Posted on March 18, 2019 by Peter Jost

To this day, the success of a new stage work … Continue reading →

Posted in Augustin Hadelich, Bizet, Georges, Carmen Fantasy (Sarasate), Ingolf Turban, Monday Postings, piano + violin, Saraste, Pablo de, violin + orchestra | Tagged , , | 3 Comments

Debussy in Urtext – Part 6: Interview with Pascal Rogé

Posted on November 26, 2018 by Peter Jost

In the final part of our little series we want … Continue reading →

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Debussy in Urtext – Part 5: Corrections in the galley proofs for the piano piece “Masques”

Posted on September 17, 2018 by Peter Jost

Needless to say, every editor of an Urtext edition wishes … Continue reading →

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Debussy in Urtext – Part 4: Autograph corrections in chamber-music works

Posted on July 16, 2018 by Peter Jost

It goes without saying that the focus would be on … Continue reading →

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