Here comes the Fifth Season – just like every other year!

Once again it’s time to celebrate Carnival all over the world, and the climax is, of course, the special parade of the most original costumes and masks. The G. Henle publishing house is not to be left behind here. So, the highlight at Forstenrieder Allee in Munich is the costumed Urtext-edition parade through the house.

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The Henle Library App is one year old – that’s a whole year of digital Urtext!

On 3 February 2016 – on the 117th birthday of Günter Henle, the founder of our publishing house – we launched the Henle Library App. A year later we are proud to announce that it has found its place in the musical world! Thousands of musicians regularly use it and are singing its praises, especially concerning one of the key features: the option of choosing from different fingerings by great musicians.

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A new star in the Henle firmament – Béla Bartók Complete Critical Edition

After nearly three decades the time was ripe for a new complete edition at Henle –and so in 2016, Beethoven, Haydn and Brahms have welcomed in Béla Bartók a new addition. In an earlier blog when the Urtext edition of Bartók’s Allegro barbaro (HN 1400) was released, we already took “a peek through the keyhole” at the complete edition that we are publishing in collaboration with Editio Musica Budapest. But the door has now opened: A few weeks ago, For Children (HN 6200), the first volume of the Béla Bartók Complete Critical Edition appeared, which we now want to examine more closely with László Vikárius, editor of the volume and director of the complete edition.

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Posted in Bartók, Béla, Monday Postings, notation, piano solo, transcription | Tagged , | 1 Comment

Urtext from A to Z! What you’ll want to know about our new edition of Alexander Zemlinsky’s Clarinet Trio op. 3

With our freshly released Urtext edition of the stunning “Brahmsian” Clarinet Trio Opus 3 by Alexander Zemlinsky (HN 578) we are closing two gaps at once. First of all, we are adding an important work to our offerings for this classical scoring, clarinet, piano and cello (or viola), to join such illustrious company as Mozart’s “Kegelstatt Trio” K. 498, Beethoven’s “Gassenhauer Trio” op. 11 and Brahms’s Trio op. 114 (not forgetting Schumann’s Märchenerzählungen op. 132 and Max Bruch’s Acht Stücke op. 83 for the same scoring). Furthermore, our first edition of a Zemlinsky work now has the nifty side benefit of actually extending our comprehensive Urtext catalogue from A(lbéniz) to Z(emlinsky) .… Continue reading

Posted in first edition, Monday Postings, Trio for Piano, Clarinet and Violoncello op. 3 (Zemlinsky), Zemlinsky, Alexander | Tagged , , , | 1 Comment

Christmas Blog

It is not only the Christmas season that comes around again to private homes once a year, but also the Christmas tree, at least since the 19th century. Friends and relatives are invited, there must be decorations and lots of other things have to be organised.  Not even a composer’s household was spared. Continue reading

Posted in Liszt, Franz, Monday Postings, Wagner, Richard | Tagged | 1 Comment

Autumnal thoughts on “Buntes Blatt” in f-sharp minor by Robert Schumann

Robert Schumann, Bunte Blätter op. 99, First Edition, Robert-Schumann-Haus Zwickau, Archiv-Nr.: 1996.23-D1; the download of this image is prohibited. Click to enlarge.

A little birthday gift
for András Schiff (December 2016)

Coloured leaves everywhere, on the trees and on the ground. I can see them outside my window, on Forstenrieder Allee in Munich, where the G. Henle offices are. Coloured leaves everywhere – that’s the keyword for today’s blog post on Schumann’s seldom-played “Bunte Blätter” op. 99. Continue reading

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Editions also have their histories. The revision of César Franck’s violin sonata

The question of why from time to time editions in the Henle catalogue are re-published as revised was already dealt with in an earlier blog post. Following up on this, I’d like today to present a special case, that is, the just about to be published revision of César Franck’s famous violin sonata.

Henle first published Franck’s masterwork as HN 293 in 1975, so more than forty years ago. That edition was then based on two sources: the (allegedly sole) autograph, together with the first edition, which had not yet been separately treated as score and separate violin part (as is usual today). Continue reading

Posted in articulation, autograph, dynamics, first edition, Franck, César, Monday Postings, new source, piano + violin, Urtext, Violin Sonata (Franck), Yehudi Menuhin | Tagged , , | Leave a comment

Johann Jacob Froberger on his 400th birthday

Many Urtext enthusiasts will already have noticed in 2014 that the G. Henle publishers are now also exploring the “pre-Bachian” period. Appearing that year was an edition of Johann Kuhnau’s complete works for keyboard instruments. Admittedly, Kuhnau is not all that far removed from Bach, being only 25 years older and also his predecessor as cantor at the St. Thomas church in Leipzig. Continue reading

Posted in autograph, Froberger, Johann Jacob, measure numbering, Monday Postings, piano solo, Urtext | Tagged , , | 1 Comment

At full length – finally, an Urtext edition of Tchaikovsky’s unabridged Valse-Scherzo

Tchaikovsky and the violin – surely everyone first thinks here of his splendid violin concerto, long since available, of course, in the Henle Urtext edition (HN 685). But violinists also love his other, smaller works for violin and piano now being gradually added to our catalogue in reliable Urtext editions. Continue reading

Posted in arrangement, Monday Postings, piano + violin, Tschaikowsky, Peter, Urtext | Tagged , | 1 Comment

Haydn’s complete cello concertos at Henle: 3, 8, 5 or 2?

To the question of how many cello concertos Joseph Haydn left us there have been startlingly different answers in the last 200 years: Haydn’s own works’ catalogue of 1805 lists three concertos; in the 19th century the number grew to eight before it was reduced in the 20th century to those five found in Anthony van Hoboken’s catalogue of Haydn’s works. But our Urtext catalogue records only two! Why’s that? The short answer is that our Haydn Urtext Editions go back to the complete edition, Joseph Haydn Werke – and not only to what is printed, but also to what is not printed. The long answer provides an insight into a special area of Haydn research, the issue of authenticating the works dealt with under his name. Continue reading

Posted in autograph, copy, first edition, Haydn, Joseph, Monday Postings, Urtext, versions, violoncello | Tagged , , | Leave a comment