A wrong ‘D’ goes out into the world – Rachmaninoff’s Prélude in c sharp minor under the magnifying glass

The last blog posting on 6 January has already let it be known: we are welcoming Sergei Rachmaninoff as a new composer in the Henle catalogue! With the expiration of copyright on 1 January 2014, works in Germany and many other countries of the EU and worldwide have now come into the public domain, so that there is no longer anything standing in the way of a new critical edition of his compositions. Continue reading

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Corelli, La Folia and Rachmaninoff’s Variations, Op. 42

In May and June 1931 Sergei Rachmaninoff composed his famous and much-played piano ‘Variations on a Theme by Corelli’, Op. 42. Only: The theme is not by Corelli! And what do we now call the child? Better, perhaps, ‘La Folia’ Variations … Continue reading

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Christmas Blog

Dear Reader,

we most warmly thank you today for your interest in the Henle Blog. We also look for­ward to your visits in the coming year and promise interesting postings on musical ques­tions concerning music texts.
Today, you will find here a film that is really something. It is an old production from a full 30 years ago of the Bach Christmas Oratorio with Nikolaus Harnoncourt con­duc­ting. Absolutely worth hearing and seeing! Continue reading

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Why facsimiles, actually?

The blue Urtext editions certainly amount to the lion’s share of our catalogue, but, in­ci­den­tal­ly, we do also still produce a completely different kind of music edition; these are facsimiles, that is, literal reproductions of especially significant manuscripts. Often e­nough we even stock both for a work, so that many people may ask: Why do we actually need the facsimile if, after all, we have a reliable Urtext edition that gives a scholarly e­va­lu­a­ti­on of just this source and hence offers the musician the optimal foundation for per­for­mance? Continue reading

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HN 555 – A printing error in CPE Bach’s sonata for solo flute?

HN 555These days our latest Urtext product comes from the prin­ter, ‘hot off the press’: an edition of the Sonata in A minor for Solo Flute by Carl Philipp Emanuel Bach
(HN 555). This is no place for detailing the practical cha­rac­te­ris­tics of this edition (fold-out pages for making rea­ding the music easier with fewer page turns; complete re­pro­duc­tion of the first edition for all of you who want to delve into this cru­cial flute work at the source and play if possible from it; performance-practice comments by the master trans­verse flautist Karl Kaiser, who with much ad­vice tended to the edition and traced the im­por­tant ideas back to the following text). The discussion be­low has to do with only a single note in the 2nd movement. Continue reading

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‘Pour Piano et Violon ou Violoncelle’ – Is there a cello sonata by César Franck?

César FranckIn connection with the general blog post by Dominik Rahmer on ‘Set­ting, version, arrangement – how far may Urtext go?’ (October 2012), we are going to deal here with a special case of ar­range­ment. Anyone searching the Internet under ‘César Franck Cello So­na­ta’, will get more than 80,000 results. But already from the head­ings on the pages we will quickly see that this ‘cello sonata’ offered is an arrangement of the famous Violin Sonata in A Major. Continue reading

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“Hark, Hark! The Joy Inspiring Horn” – Discoveries in Schumann’s Konzertstück, Opus 86

For pianists and string players, especially, the name Henle stands for reliable Urtext e­di­ti­ons of their classical repertoires – since the publishing-house founder Günter Henle was himself a pianist, the publishing house al­so focussed in the early years on that par­ti­cu­lar literature. Yet in the meantime the wind instruments have likewise become firm­ly established in our catalogue. Continue reading

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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 Henryk Wieniawski’s Scherzo-Tarantella (HN 553), a violin and orchestra version of this work exists in an incompletely preserved photocopy of a lost autograph. This version was not published, and it presents a few no­table material differences in comparison with the published violin and piano version. Un­for­tu­na­te­ly, no other autograph of the Scherzo-Tarantella has survived, and without do­cu­men­ta­tion regarding Wieniawski’s editing process, we could not consider the violin and orchestra version as a source for the violin and piano version. 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 winds K. 452 harboured a secret for more than 200 long years. I could first reveal it as part of my Urtext edition (HN 665 and HN 9665) in the year 2000. 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 along played a large role in the Henle catalogue. As early as amongst the house’s first publications from the 1940s, standard string-repertoire works can be found with Beethoven’s cello variations and violin sonatas (HN 5 and 7/8, both of course meanwhile revised according to the text of the New Beethoven Complete Edition); in the last six decades this repertoire has been systematically extended from Bach to Berg (as, incidentally, can also be gathered from our 13 video Interviews with 13 internationally renowned violinists on 13 great violin works). The double bass, on the other hand, first came to Henle with the new millennium, and for that there are many reasons … Continue reading

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