In the year 1821 three distinguished personalities met in Weimar: Goethe, Mendelssohn Bartholdy and Mozart. Mozart, of course, not in person, but in the form of his original manuscript that Goethe owned at the time (and that he identified on page 2 as “Mozart.”): Continue reading
Carl Nielsen (1865–1931) is probably best known as a prominent composer of symphonies. His very serious works, full of doubts of both the world and himself, also finally suggested his nickname ‘the Danish [Richard] Strauss’. Henle publishers have set out to show the somewhat different chamber-music side of this composer and are publishing shortly three wind pieces from his early-to-middle creative period. Continue reading
Posted in Monday Postings
Tagged canto serioso, Carl Nielsen, chamber music, clarinet, fantasy piece, Fantasy Pieces, HN 1131, HN 1252, HN 586, horn, oboe
Today’s musicians tend to react to the above question with raised eyebrows. Isn’t it clear – accidentals in the key signature are always in force and for all octave registers unless annulled by natural signs. An accidental found in a measure is valid for this note and for the entire measure – no longer, no shorter. But this was not always so.
For instance, there were other rules in Johann Sebastian Bach’s time. Key-signature accidentals were indeed used as they are now, though the accidental placed within a measure was valid only for this one note. If the same note was later repeated in the bar, then the accidental had to be given again in order to be further valid. Continue reading
(Source: Wikimedia.org, Licence: PD)
Anyone working with Schubert’s autographs inevitably runs up sooner or later against the famous accent question: that is, more precisely, the question of whether the sign notated at this or that passage means an accent or a decrescendo hairpin. Although both signs in modern music notation are very clearly distinguished one from the other – an accent is placed directly above the note head, the hairpin below or above the stave –, they are closely related in origin. When in the expiring 18th century the signs for getting louder or softer (crescendo and decrescendo hairpins) arose as alternatives or substitutes for the written-out directives crescendo and decrescendo, the > sign evolved as an abbreviated decrescendo hairpin. The correlation becomes graphic for instance in Beethoven’s songs. Continue reading
Posted in Monday Postings
Tagged accent, An die ferne Geliebte, An die Geliebte, Beethoven, D 803, decrescendo, HN 562, HN 9562, Octet, Op. 98, Schubert, WoO 140
The basic idea behind an Urtext edition is well known; it is a composition edited in such a way that it corresponds to the composer’s will, ending up the ‘definitive version’ as a rule. Yet what about having to consider two wills und a ‘pair’ of definitive versions…? Continue reading
Observations on the necessity of body language in piano playing
Wilhelm Busch: "Der Virtuos", 1865 (Source: Wikimedia.org, Licence: PD)
For today, an altogether practical subject for those of us who play piano and are pianists: Perhaps it has still not gotten about everywhere that piano playing appeals to the eye more than to the ear! Pianists have then a fair chance of winning competitions only if they reinforce their playing with expressive body movements and facial expressions. A current, reportedly serious study
proves it: That is to say, upon merely watching soundless (!) competition shots, lay people as well as professionals chose the same (!) winners as the expert panel of judges at the same competition. In other words: the eye, not the ear predetermines solid piano playing. Or put another way: The jury, wearing earplugs, would also have nominated the same winner. Now that’s something to really make you think…. Continue reading
The double bass entered the Henle publishers’ catalogue a few years ago by way of the Dresden double bassist Tobias Glöckler. Entirely classically, to begin with, through the concertos by Hoffmeister and Dittersdorf, but soon also joined by somewhat exotic titles such as the Twelve Waltzes by Dragonetti for Double Bass or the famous Elephant from Saint-Saëns’ Carnival of the Animals. “The Famous Solo” by Domenico Dragonetti, most recently published in the version for double bass and string quartet, now even presents a first edition of a double bass work in our publishing-house programme. Here you can read how it came about… Continue reading
Posted in Monday Postings
Tagged Dittersdorf, Double bass, Dragonetti, Famous solo, Hoffmeister, orchestral tuning, Saint-Saëns, solo tuning, Tobias Glöckler, urtext, Viennese tuning
n a small valley of Mt. Olympus a musical beauty spot once nestled into the mountain of the gods. No Odysseus, no Heracles ever came on an odyssey or ordeal through this baroque/classical/romantic refuge; not even once did the ancient Homer let it extol his muse. Whether, however, Xerob of Copyean was referring to this in his annotation “Ι ωανδερεδ οηχε βυ τηισ ηιδδεη ωαλλεψ.” (In: Ηικινγ, Athens etc., 752 BC, papyrus 7), is much disputed among specialists.
Why is so little known about this valley? – Well, living there was a small race called Henleans that worked tirelessly day-by-day in an almost Sisyphean manner at its destiny: the Urtext. The father of the gods, Zeus himself, commissioned it and subsequently wrapped the valley in a mantel of silence. Continue reading
What music do continuo players play from?
This question might at first appear trivial. Presumably every pianist nowadays has already once accompanied baroque chamber music from a basso-continuo part. In the G. Henle Verlag – and not only at our publishing house – this part is basically a stave for the left hand. It contains the bass part, mostly with numbers indicating which chords are to be played by the right hand in each case. Continue reading
Maurice Ravel (1875-1937), 1925 (Licence: PD)
Maurice Ravel’s concert rhapsody “Tzigane” is known to exist in three versions: in the original for violin and piano (April/May 1924), in the slightly-later version for violin and orchestra (July 1924) as well as in a version for violin and luthéal, (October 1924); the luthéal, only just developed and then quickly given up again, is a string-instrument device that when installed in the upright or grand piano makes it possible to generate a new sound register that Ravel used here primarily to imitate the sound of the Hungarian cimbalom. Continue reading