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

Correction in the proof of Masques.

Needless to say, every editor of an Urtext edition wishes to have a source situation as complete as possible, starting from the first sketch of a work up to the authorised edition appearing in the composer’s lifetime. A particularly important link in this chain are the autograph corrections from the galley proofs, since they connect the engraver’s model with the first edition and help to account for differences between these two sources. Continue reading

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Johann Nepomuk Hummel’s Potpourri op. 94 for Viola and Orchestra – for your kind attention!

To my great joy, this year and last year the wonderful Antoine Tamestit has been heard several times in concert with a work that has long been completely unknown, even to connoisseurs of the viola repertoire: Johann Nepomuk Hummel’s Potpourri op. 94 for viola und orchestra. Continue reading

Posted in Antoine Tamestit, Hummel, Johann Nepomuk, Potpourri op. 94 (Hummel), Tabea Zimmermann | Leave a comment

Summer, sun and holidays!

It’s vacation time and so the Henle-Blog is taking a break for summer as well.

We’d like to thank all of our readers for their interest and are looking forward to our next blog entry on September 3rd 2018.

We wish you a nice summer!

Your Henle Blog Team

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

Claude Debussy (1862–1918)

It goes without saying that the focus would be on Debussy’s piano works from the outset of Henle editions of the French composer’s music. For one thing, because the publishing house’s self-image was based from the start on the core repertoire of piano music forming its catalogue; but also because of Debussy’s large multitude of pioneering and popular compositions in this genre – from the Arabesques to the Études. Continue reading

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More or less – Bartók’s well-regulated markings of his piano works

Dénes Várjon

To continue my last blog with an overview of our Urtext editions of Bartók’s piano works, I am devoting today’s posting to a small but very significant aspect of these editions: their fingering and performance markings. And I am very happy that this time not only the great Hungarian Bartók scholar László Somfai but also the great Hungarian pianist – and Bartók specialist! – Dénes Várjon shared their opinions with me. Continue reading

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The première of Sergei Rachmaninoff’s Second Piano Sonata op. 36

Moscow, St. Petersburg, Rostov-on-Don, Saratov, Smolensk, Voronezh – what do these Russian cities have in common? No, these are not venues of the World Cup, just starting in Russia… Continue reading

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The “Picardy” major third in Chopin’s incredibly sad c-sharp minor Nocturne

What a liberating, even redemptive impact that the unexpected major third closing a piece in the minor can have, is known above all to those of us who play and listen to Bach. To give just one example that everyone would know: The strictly and relentlessly advancing c-minor prelude from the first volume of the “Well-Tempered Clavier” bursts into bloom on the very last beat with a wonderful C-major triad. (Also, my favourite Bach prelude, the one in f-sharp minor, ending in F-sharp major, from the second volume.) “Picardy” is what Rousseau calls such a kind of replacement of the third at the end of a minor piece. Continue reading

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

Debussy at the piano

Editors of Urtext editions have added a new medium as a possible source for the period from about 1890 onwards:  historical recordings, whether played by interpreters closely associated with the composer, or even by the composer himself. This is especially true of composers’ recordings of their own piano works, since most composers of the time were also good pianists who even performed in concerts. In conjunction with recordings by Debussy and Ravel of their own piano works, Peter Cossé has left us this beautiful bon mot, ‘acoustical view under the pianistic rock of music history’. Continue reading

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Confusion about Chopin’s Scherzi – episode 4

F. Chopin (1810–1849)

At the beginning of the year I reported on my work on the two Scherzi nos. 2 & 3 by Frédéric Chopin. Even then I could announce that episode 4 would not be long in coming – and now I am keeping my promise! The revised E-major Scherzo op. 54 will soon be published, followed by a complete revised volume of all four of Frédéric Chopin’s Scherzi. Continue reading

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La Vega – The fertile plain: Isaac Albeniz’s homage to Granada and the foothills of the Sierra Nevada

Isaac Albéniz (1860–1909)

A few weeks ago my colleague Peter Jost reported here on our commitment to Spanish Romantic music. I recollect with pleasure my early years in the publishing house, when with the first volume of the Iberia Suite by Isaac Albéniz in 2002, we were heralding this new programme segment. But it was not only the well-known masterworks from his pen that were finding their way into our catalogue. Continue reading

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