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

The “Henle Library” app – looking back, looking forwards

Our “Henle Library” app has now been available to musicians around the world for nearly eight months and so it’s time to take stock of what has happened and to give you an insight into what will happen in the near future.

Continue reading

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The charm of the unsettling. A special autograph correction of Mozart’s in the finale of the F-major string quartet K. 590

Mozart connoisseurs and admirers know of course about what is bizarre in the finale of his very last string quartet, K. 590. In its development the harshness of the tone language is particularly unparalleled in the Mozart oeuvre. But the unsettling already starts shortly before the end of the first section: The otherwise so airily sparkling sixteenth notes stall all of a sudden in an almost stranded-like repetitive three-note kink. It is just this spot that Mozart vehemently corrected in his manuscript. The investigation of this correction offers us at hand an analytical key to the understanding of this absolutely special movement. Continue reading

Posted in articulation, F-major string quartet K. 590, Monday Postings, Mozart, Wolfgang Amadeus, string quartet | Tagged , , , | Leave a comment

Don’t miss a beat! The first movement of Saint-Saëns’ 2nd piano concerto

As editors we are occasionally confronted with questions that at first glance appear straightforward. Continue reading

Posted in autograph, measure numbering, Monday Postings, piano + orchestra, Piano Concerto op. 22 (Saint-Saëns), Saint-Saëns, Camille | Tagged , , , | Leave a comment

Summer break

Even our composers are known to have taken time off in the summer for R & R in the mountains or at the sea. Continue reading

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Anton Webern: Now also “in blue”!

We are always welcoming new composers to our Henle catalogue. As our readers certainly know, we publish only music that is copyright-free; you could say that the composer must have already been dead for 70 years in order to make it into our repertoire. Such major occurrences were, for instance, the first Henle editions of Sergei Rachmaninoff’s works in 2014, or just recently, the Allegro barbaro by Béla Bartók (see the blog posting on this by my colleague Annette Oppermann). Continue reading

Posted in autograph, G. Henle Publishers, Glenn Gould, Monday Postings, piano solo, Urtext, Variations op. 27 (Webern), Webern, Anton | Tagged , , , | 1 Comment