Category Archives: Monday Postings

Wieniawski’s Scherzo-Tarantella, op. 16: Structural designs for a synthesis between a tarantella and a scherzo?

As noted in the Preface to the Henle edition of … Continue reading

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A forgery? And if so, by whom? On the closing bars in Mozart’s Wind Quintet K. 452

The autograph of Mozart’s piano quintet for piano and four … Continue reading

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High time for the low register – the double bass conquers the Henle catalogue

The strings, together with the main instrument, piano, have all … Continue reading

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Ossia and Da Capo – Confusion in Schumann’s Papillons, Op. 2

Sometimes a conundrum can’t be solved, even when the source … Continue reading

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Filched Melodies – Sarasate’s ‘Zigeunerweisen’ (Gypsy Airs) under suspicion of plagiarism

The use of folk-music elements in art music has, as … Continue reading

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“Liebestod” revisited – yet more problems in Franz Liszt’s transcription of Wagner

Some time ago we had previously devoted a blog post … Continue reading

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Schubert deletes, Brahms restores. On the first of the three posthumous piano pieces (Impromptus) D 946 by Franz Schubert

Schubert did not live to see the publication of his … Continue reading

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“Adelaide” – a song goes round the world

The German art song does indeed famously enjoy great popularity, … Continue reading

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“una corda” – “con sord.” – “mit Verschiebung”: How do I ‘mute’ my piano?

Many piano students are not going to believe their eyes … Continue reading

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Climax, more or less – e flat or e in Islamey?

Mily Balakirev’s showpiece Islamey, already certified, so to speak, as … Continue reading

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