Spring Cleaning – new setup guidelines at the Henle house

You ought to underline today’s date in the calendar in red: this is the day that the G. Henle publishing house is introducing new and trailblazing guidelines for the setup of selected titles in the chamber-music repertoire. In the future, enclosed alongside both single parts contained up to now – provided in the Urtext together with fingerings and bowings – will be a third part, the so-called cleaned-up part. Continue reading

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Wagner, Liszt, and Isolde ‘slurred’– how well do composers proofread their own works?

The current Wagner year is also not going unnoticed at the Henle publishing house, even if music stage works are not part of our offerings. Continue reading

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‘Come sopra’ – clearly ambiguous!

The autograph of Beethoven’s piano sonata, Op. 90, is part of the splendid collection of the Beethoven-Haus in Bonn; since digitalization some years ago, it has been available for contemplation on the Internet. Even if in comparison with many other Beethoven manuscripts it is relatively easy to decipher, upon first glance at various pages the question is whether we are actually dealing here with a ‘finished’ work. Continue reading

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Gratis, but not for nothing – the download of the Lalo cello concerto

Whilst browsing through the Henle publishers’ catalogue you may occasionally come upon the link ‘free download’. Continue reading

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High quality sheet music. What makes a music edition good?

A carnival week blog contribution:

(1) You can tell a good edition of music, dear reader, by its well-planned page turns.

(2) A good edition of music is not a collection of loose sheet music, but is in a binding.

(3) A good edition of music has playable fingering.  

(4) Good musicians have good page turners.

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Composers on the waiting list – or: We’d really like to do them, but are (still) not allowed to do so

Dmitri Shostakovich

‘Why doesn’t Henle have the famous piano trio by Shostakovich?’ or: ‘When will the seventh piano sonata by Prokofiev finally come out?’ Time and again our editorial department receives such questions about our offerings. Continue reading

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Brahms’s ‘Hungarian Dances’ – new finds in old sources

In 2011 the Brahms researcher Michael Struck made a striking discovery – in a book published already 100 years ago… Continue reading

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How much verbal text can music tolerate?

A serious scholarly book publication can be recognized by the footnotes – and in a way this also applies to musical Urtext editions, because here too it is imperative to base the printed music text on appropriate evidence. Where and how this is done depends though on many parameters – amongst other things, on the question of how much verbal text the music or the practicing musician will put up with. Continue reading

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‘Silent Night’ revisited

A blog entry on 24 December – how could it not have Christmas associations? Not even a Henle editor would have it otherwise. Should there really be a blog post on problems in Urtext editions on a date so emotionally charged? That does not seem quite in line to me. Yet, perhaps even in Christmas music undreamt-of Urtext questions might be napping, so that the two could be combined elegantly one with the other? Let’s give it a try in the following. Continue reading

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Gong, tamtam or cymbal crash? – Gershwin’s ‘Concerto in F’ as work in progress

You know George Gershwin’s Piano Concerto and the famous place just before closing, where a percussion instrument introduces the climax of the piece with a loud ‘bang’? You don’t? Then, as an introduction here comes first of all an excerpt from the film ‘An American in Paris’ of 1951, in which Oscar Levant Continue reading

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