“Wolfgang Amadeus Stadler”, Allegro for piano trio


It is extremely rare for us to be able to publish a real first edition. But this happened once again a few weeks ago with my Urtext edition of the three piano-trio fragments, K. 442 by Mozart (HN 1379). In the appendix to this edition we offer completely unknown music scored for piano trio: a movement in D major, a good 350 measures long, well constructed and fairly easy to play. The composer? Well, that’s the question. No, it is not by Mozart, though the unfortunate Köchel number 442 would lead us to believe that here is a Mozart three-movement piano trio, which never before existed. Continue reading

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Schubert on a Bach trip? A call for help regarding the Arpeggione theme

Johann Sebastian Bach

The Henle blogging community will, we hope, not be disappointed that my text today has, at first glance, nothing to do with the daily Henle editing routine. Normally, we report here about tricky editorial problems and offer solutions. But today – not a sign of solving anything. My posting is a question, almost a cry for help on a topic that has been bothering me for weeks. But let’s start with a domestic scene. Continue reading

Posted in Arpeggione Sonata (Schubert), Bach, Johann Sebastian, Fugue BWV 904 (Bach), Monday Postings, Schubert, Franz | Tagged , , | 2 Comments

New as of 1 April 2019: Henle scores via WhatsApp

Henle Verlag is a traditional publishing house and can look back on a proud publishing history: last year we celebrated our 70th birthday. But since the digital age has left its mark on us as well, we launched our very successful Henle Library a few years ago, putting almost all our Urtext catalog on iPad and Android tablets. We are also actively sharing Henle news with you on YouTube, Facebook and Instagram. Continue reading

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

Title page of the autograph of Sarasate’s Carmen Fantasy.

To this day, the success of a new stage work crucially depends upon whether the individual scenes, ensembles or songs stick so strongly in the mind as catchy tunes that they become earworms. The persistent popularity of Georges Bizet’s Carmen undoubtedly owes a great deal to such of its easily-remembered numbers. Its première in the Paris Opéra-Comique on 3 March 1875 and the run immediately afterwards did not bring the great hoped-for success, but from the autumn of 1875 an unprecedented triumphal procession over European stages began – which, though, Bizet, who died three months after the première, was no longer alive to experience. 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

Carnival: Henle goes green – environmental protection and animal rescue at Henle

Plastic waste and climate change, loss of biodiversity…. – It’s really time to do something about it! The G. Henle publishing house also wants to do its part, so under the slogan “Henle goes green”, we replaced plastic bags with paper bags and use for our Urtext editions only paper with the FSC [Forest Stewardship Council] seal of approval. For more information, see our Facebook posts from Jan. 23 and Feb. 15 2019 on this topic. Continue reading

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

Considering that specifically for 19th-century works the first edition is frequently the most important source for preparing the Urtext edition, we could pose the question of why we re-typeset our Urtexts at all – when the few errors there could often so easily be corrected by retouching the original print. But quite apart from the fact that in many cases the necessary corrections couldn’t sometimes even be realised at all within the original layout, the little word “modern” comes into play here, (also) to grace our Urtext editions. Continue reading

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

Version alert! Or: Did Brahms ever revise his Horn Trio?

A few days ago a customer enquiry momentarily gave me pause: Whether our new edition of the Johannes Brahms Horn Trio in E-flat major op. 40 (HN 811) reproduced the first version of 1866 or the second version of 1891? But a later revision of a trio was done by Brahms for just the B-major Trio op. 8 – or has something else come up…? Continue reading

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Ten at a stroke – Scriabin’s piano sonatas in one volume

Many a Henle fan familiar with our catalog will know that some of our works are available in “duplicate”, that is, in both a single edition and within an anthology. As an Urtext publisher we are committed to transmitting the sources, therefore we normally issue works just as they left the hands of their composers. Continue reading

Posted in G. Henle Publishers, Monday Postings, piano solo, Piano Sonatas (Scriabin), Scriabin, Alexander | Tagged | Leave a comment

An unaccountable (?) fermata notation in Mozart’s string quartet K. 428

Wolfgang Amadeus Mozart (1756–1791)

That Mozart, when writing carefully, graphically distinguishes between the dot and the stroke, ought to be beyond dispute to anyone knowing his handwriting. Though here we’re not going to argue about the performance-practice significance that this graphic distinction may or may not have. Today I want to present an extremely odd “stroke” notation of Mozart’s. Continue reading

Posted in accent, Monday Postings, Mozart, Wolfgang Amadeus, string quartet | Tagged , | 7 Comments

The Nutcracker in ballet and film

The Nutcracker is as closely associated with the Christmas season as Bach’s Christmas Oratorio, the Christmas tree and gingerbread. A ballet visit is a fixed tradition for many classical music fans.   Continue reading

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