Perhaps I am a bit old-fashioned: I love guestbooks. Yes, indeed, in times of Facebook and Twitter, it may seem antiquated. But tweets and posts vanish quickly – the guestbook remains. Almost every time a musician visits the Henle offices in Munich/Germany I hand him or her the current volume of our elegant, leather-bound Henle guestbook with the polite request for a commemorative entry. It’s absolutely unbelievable to look back and re-discover who visited Henle over the course of decades. Of course, the handwriting is always different and characteristic, and the contents are varied: some are humorous, some contain only a date and a signature, or the writer praises our Urtext editions. (These are the ones I most like reading).
Here the book opens to a page written by the wonderful Japanese-British pianist Mitsuko Uchida:
The 19th century is rich in artist friendships. That between Franz Liszt and Richard Wagner stands out not only because of the significance of their musical creations, their complex personal relations, but also because of a striking imbalance in giving and taking. Put straightforwardly: The one, Liszt, admired, the other, Wagner, was admired. Liszt’s commitment to Wagner’s operas and music dramas, for which he felt unreserved enthusiasm, knew no bounds, whilst Wagner scarcely noticed Liszt’s works aside from the symphonic poems, and at most praised them out of gratitude for the help given him.
Illustration: Aline Bureau
Posted in concert paraphrase of the overture to Tannhäuser (Liszt), first edition, Liszt, Franz, Monday Postings, piano solo, Wagner, Richard
Tagged first edition, Liszt, Tannhäuser, year of publication
It was nearly three years ago, on 17 February 2014, that my blog post on a luxuriously appointed Henle Urtext edition of Bach’s Trio Sonata BWV 1038 appeared. At that time I wrote that we are upgrading reprints of baroque chamber music in order to outfit them also with a continuo score, added bass part, etc. What was not mentioned in this post, but actually taken for granted is: New editions scored with continuo are likewise opulently equipped. Another such deluxe edition has appeared recently, to which I’d like to refer here: Telemann’s Methodical Sonatas, Part I, with sonatas 1–6 (HN 1266). Continue reading
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.
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.
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.
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
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
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