Prix de l'édition musicale en allemagne

We are grateful to have received a distinguished award from a particularly knowledgeable and independent party, namely from the German Music Publishers’ Association: In 2000, G. Henle Publishers was awarded a special prize within the music edition price for its complete Urtext catalogue, as its achievements serve as “shining examples of the quality development in publishing as a whole” and for its “overall editorial performance”. In addition, editions in our scholarly field and facsimiles have also repeatedly been honoured with the German Music Edition Prize.

2012

The jury said of its decision
One of the most important works in western music is presented here in an edition that is not only top quality but at the same time possesses a high scholarly value and is a collector’s item. The sketches have remained unpublished until now and thus constitute an important addition to Haydn literature. A very fine transcription of the facsimile, striking presentation in a cloth slipcase.

The jury said of its decision
A lighthouse edition amongst the catalogues of works and an outstanding scholarly achievement. The works have a detailed and extensive commentary, which is no mean feat with a composer such as Reger. Both volumes also excel on account of their readability. The publishing house deserves particular recognition for the publication of such a complicated work that will scarcely turn a profit.

2010

The jury said of its decision
This optically appealing edition, which is superb value for money, fulfils the highest editorial demands and contains all of Haydn’s oratorios. The volumes provide an excellent insight into Haydn’s work, and both the binding and workmanship are superb.

2008

The jury said of its decision
This little book unites scholarly demands with bibliophile spirit in the best possible way. Due to its loving design, a real treasure for every collector and scholar.

2007

Jury’s special prize

The jury said of its decision

Beginning with these two submissions that would be worthy of receiving a prize in their respective categories because an effort has been made to take historical performance practice into account, the jury is awarding G. Henle Publishers a special prize. For years the publishing house has stood for excellent quality that is appreciated by amateurs, professional musicians and scholars alike. All of the title pages have followed an uninterrupted pattern, which has in the meantime afforded G. Henle Publishers a distinctive face. This special prize is awarded in praise of G. Henle Publishers and as an incentive to others.

2005

2004

2002

2000

Special Prize

With this prize we wish to honour a publishing concept that has been realized over many years, that is the overall editorial performance. Achievements such as these often serve – both nationally and internationally – as shining examples of the quality development in publishing as a whole.

This year, for the first time ever, the jury has unanimously decided to bestow a special award. It is in honour of the 50 years’ work of G. Henle Publishers, which has elevated the Urtext idea to its publishing leitmotiv. As there is no creatio ex nihilo in the compositional field, there is also no such thing in publishing creativity as an underlying idea without any prerequisites or any prior history. But in this case, scholarly findings have for the first time systematically and in great breadth been turned into quality editions for musical performance.

After World War II, internationally renowned artists often received their first true and undistorted insight into the composer’s “intention”. (Today we know, and are also a little more modest, that this can often only be an “approximation” of the so-called authentic form of the text.) The greatest achievement was, however, to persuade teachers with their incredible steadfastness, indeed almost Nibelung-like loyalty towards old editions (which was, of course, good for some publishers), that an “Urtext age” was dawning and that they all had to experience this “blue wonder”. Thus Henle Publishers has succeeded in subjecting teachers themselves to a pedagogical process.

I would like to conclude my short statement with a quotation by Günter Henle. His idea was not primarily driven by economic interests, but rather by a responsibility towards musical culture. “And it is especially in the fact that through the true, undistorted language of our great musical geniuses, the taste of the broadest possible music-playing public will be formed and developed – alongside the specifically scholarly task – that the great cultural responsibility of an Urtext edition lies.”

I believe that this aim has been realized perfectly.

20.06.2000, Professor Dr. Andreas Eckhardt

1999