A tear for or from Rossini?

Gioacchino Rossini (1792-1868)

November 13 marks the 150th anniversary of Gioacchino Rossini’s death, so we can shed a tear! And we at Henle are even issuing a piece by the master himself, that is, “Une larme” (A Tear) for double bass and piano. Rossini dedicated this melancholy musical miniature in 1858 to a deceased friend – but why it even so gives our editor Tobias Glöckler pleasure, he explained to me in conversation. Continue reading

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Rachmaninoff revises Rachmaninoff. On the two versions of the Second Piano Sonata op. 36

Sergei Rachmaninoff (1873–1943)

In my last blog posting I went into the genesis of Rachmaninoff’s 2nd piano sonata and its world première, but today I would like to consider some of this work’s musical problems. Or, actually, these two works, for the sonata is known to exist in two distinctly different versions (from 1913 and 1931), both were published and authorised by the composer. Continue reading

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From sketch to first edition: the (almost) seamless source documentation of Edward Elgar’s violin sonata

Edward Elgar (1857–1934)

Many Urtext editions and their sources cross the desk of an editor at the G. Henle publishing house – but we are seldom dealing with such a comprehensive source documentation as is the case with Elgar’s violin sonata. Nearly every step of the work’s genesis can still be re-traced today, and yet in preparing this edition its editors were constantly confronted with unresolved issues – how could that be? Continue reading

Posted in Elgar, Edward, genesis, Monday Postings, piano + violin, Sources, Violin Sonata op. 82 (Elgar) | Tagged , | 2 Comments

“Ein Prosit der Gemütlichkeit!”*) — Four famous composers at the Wiesn**).

Yesterday evening I was once again sitting in the party tent at the world famous Munich Oktoberfest with a good Mass Bier***). Facing me sat four rather odd-looking men who introduced themselves as “perennial musicians”. I didn’t really quite catch their names (for the band in the tent was very loudly playing “music”). But their appearance and their speech certainly seemed somehow weird to me, in fact, “old-fashioned” – then suddenly it hit me, WHO they were, sitting at my table. Hard to believe, but for sure!! Continue reading

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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

Posted in 2nd piano sonata op. 36 (Rachmaninoff), Monday Postings, piano solo, Rachmaninoff, Sergei | Tagged , , | 2 Comments