Author Archives: Peter Jost

Quality: especially valuable – the galley proofs in Fauré’s 1st Cello Sonata op. 109

There is always a risk in producing an engraved plate … Continue reading

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What did the composer want? On a strange measure in Saint-Saëns’ Romance for Flute op. 37

Anyone who compares the edition currently on the market of … Continue reading

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Is that still Urtext? On an often played variant in Sarasate’s “Carmen Fantasy”

To this day, the success of a new stage work … Continue reading

Posted in Augustin Hadelich, Bizet, Georges, Carmen Fantasy (Sarasate), Ingolf Turban, Monday Postings, piano + violin, Saraste, Pablo de, violin + orchestra | Tagged , , | Leave a comment

Debussy in Urtext – Part 6: Interview with Pascal Rogé

In the final part of our little series we want … Continue reading

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Debussy in Urtext – Part 5: Corrections in the galley proofs for the piano piece “Masques”

Needless to say, every editor of an Urtext edition wishes … Continue reading

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Debussy in Urtext – Part 4: Autograph corrections in chamber-music works

It goes without saying that the focus would be on … Continue reading

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Debussy in Urtext – Part 3: Debussy’s recordings of his piano music

Editors of Urtext editions have added a new medium as … Continue reading

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Debussy in Urtext – Part 2: Unclear harmony in the piano piece “Nocturne”

One of the outstanding quality features of the Henle Editions … Continue reading

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Debussy in Urtext – Part 1: Henle Editions from an experienced duo

2012 was the 150th birthday of Claude Debussy, French music’s … Continue reading

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Viva la música española – Spanish music in Henle Urtext Editions

Emerging in the 19th century in nearly all of Europe … Continue reading

Posted in Albéniz, Isaac, Falla, Manuel de, Monday Postings, Noches en los jardines de España, piano + orchestra, Saraste, Pablo de, Spanische Tänze (Sarasate), transcription, Urtext | Tagged , | Leave a comment