Category Archives: Schumann, Robert

Bordering on the modern – The Urtext edition of Schumann’s “Myrthen” op. 25

Posted on February 18, 2019 by Annette Oppermann

Considering that specifically for 19th-century works the first edition is … Continue reading →

Posted in Monday Postings, Schumann, Robert | Tagged , , | 2 Comments

Autumnal thoughts on “Buntes Blatt” in f-sharp minor by Robert Schumann

Posted on December 12, 2016 by Wolf-Dieter Seiffert

A little birthday gift for András Schiff (December 2016) Coloured … Continue reading →

Posted in Bunte Blätter op. 99 (Schumann), harmonics, piano solo, Schumann, Robert | Tagged , , | Leave a comment

Urtext and Urcontext

Posted on September 14, 2015 by Annette Oppermann

In our blog we have certainly already discussed the Urtext … Continue reading →

Posted in Fauré, Gabriel, Monday Postings, piano + voice, Schumann, Robert, Urtext | Tagged , , , , | Leave a comment

Where does the key/clef go? About a problematic passage in Schumann’s F-major string quartet

Posted on July 7, 2014 by Peter Jost

Fans of the humourist Wilhelm Busch will certainly be reminded … Continue reading →

Posted in autograph, first edition, Monday Postings, Schumann, Robert, string quartet, String Quartet op. 41 Nr. 2 (Schumann), variant reading | Tagged , , , , , , , , , | Leave a comment

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

Posted on October 28, 2013 by Dominik Rahmer

For pianists and string players, especially, the name Henle stands … Continue reading →

Posted in autograph, Concert Piece op. 86 (Schumann), first edition, G. Henle Publishers, horn, Monday Postings, notation, Schumann, Robert | Tagged , , , , , , | 1 Comment

Ossia and Da Capo – Confusion in Schumann’s Papillons, Op. 2

Posted on September 2, 2013 by Norbert Gertsch

Sometimes a conundrum can’t be solved, even when the source … Continue reading →

Posted in Alfred Cortot, autograph, Claudio Arrau, dynamics, first edition, Jörg Demus, Monday Postings, Papillons op. 2 (Schumann), piano solo, Schumann, Robert, Sviatoslav Richter, variant reading, Wilhelm Kempff | Tagged , , , | Leave a comment

“una corda” – “con sord.” – “mit Verschiebung”: How do I ‘mute’ my piano?

Posted on June 24, 2013 by Norbert Müllemann

Many piano students are not going to believe their eyes … Continue reading →

Posted in Beethoven, Ludwig van, Monday Postings, notation, piano solo, Schumann, Robert, Scriabin, Alexander | Tagged , , , , | Leave a comment

Correction or interpretation? – Johannes and Clara alter Robert’s music

Posted on May 27, 2013 by Peter Jost

Anyone practicing Robert Schumann’s In der Nacht, the fifth number … Continue reading →

Posted in Brahms, Johannes, Fantasy Pieces op. 12 (Schumann), Monday Postings, piano solo, Schumann, Clara, Schumann, Robert, variant reading | Tagged , , | Leave a comment

What’s the shelf life of Urtext? Revising at Henle publishers

Posted on October 15, 2012 by Annette Oppermann

When you look carefully at our recent publications you’ll also … Continue reading →

Posted in Ballades (Chopin), Beethoven, Ludwig van, Brahms, Johannes, Chopin, Frédéric, G. Henle Publishers, Grand Fugue op. 134 (Beethoven), Monday Postings, Mozart, Wolfgang Amadeus, new source, revision, Schumann, Robert, Toccata op. 7 (Schumann), Urtext | Tagged , , , , , | Leave a comment

Will versus Caprice. On the the closing measures of Robert Schumann’s C-major Fantasy op. 17

Posted on August 20, 2012 by Wolf-Dieter Seiffert

What you can see here is the last page of … Continue reading →

Posted in autograph, Fantasy op. 17 (Schumann), Monday Postings, piano solo, Schumann, Robert, variant reading | Tagged , , | 3 Comments