弦乐四重奏与G.亨乐出版社
2022年，我们将庆祝弦乐四重奏！
原因是什么？大多数音乐家都知道我们主要是钢琴或小型室内乐作品的出版商。许多人不知道的是:在过去的几年里，我们逐渐将古典和浪漫主义的弦乐四重奏的全部核心曲目发展为原作版！这些可以在我们的网上商店 中以部分（蓝色原作版）和袖珍乐谱（学习版）的形式获得，当然也可以在 亨乐图书馆APP中以数字化形式获得。
在原作版本中，我们提供：贝多芬、勃拉姆斯、德彪西、海顿、门德尔松和舒曼的所有弦乐四重奏。许多其他四重奏也已经完成，例如舒伯特、德沃夏克、贝尔格、斯美塔那等等。您可以自己浏览：
原作版
音乐家
“我们对与 G.亨乐出版社的独特合作感到非常高兴——没有什么比与编辑Wolf-Dieter Seiffert博士来合作研究莫扎特的手稿更令人着迷的了！”
阿米达四重奏（Armida Quartett）
关于莫扎特弦乐四重奏全集版本的合作
“我们喜欢亨乐出版社！也因为许多特别贴近我们的法国作品将在未来几年由其出版，更是如此。”
艾班弦乐四重奏（Quatuor Ébène）
法国
视频
琥珀四重奏是亨乐在中国2022年的官方大使！
每一刻阿里斯四重奏音乐会日都有亨乐原作版乐谱伴随。
阿米达四重奏与G.亨乐出版社有着密切的友谊，这种友谊现已存在多年。这四位音乐家以艺术顾问的身份支持出版了所有莫扎特的弦乐四重奏。他们从一开始就是亨乐图书馆APP的用户。
艾班弦乐四重奏喜欢G.亨乐出版社的蓝色原作版。我们为这个美妙的法语问候（en francais) 感到高兴。Merci beaucoup(非常感谢！）
在西班牙，蓝色的亨乐原作版也是弦乐四重奏的必备品。Cuarteto Quiroga 既使用我们的印刷版本，也使用Henle图书馆的应用程序!
对于德国舒曼四重奏来说，亨乐出版社的原作版是四重奏演奏的必备品，也尤其是在舞台上演奏时的必备品。
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2022/23 国际弦乐四重奏活动
整个2022年，我们将于顶级组合合作，支持世界各地优秀的弦乐四重奏活动。包括赠送乐谱、奖金、亨乐图书馆APP积分，以及关于我们的弦乐四重奏原作版的讲座等等。我们将在我们的社交媒体渠道上进行详细报道。
请经常回来浏览这里！因为下面的列表还不完整。一旦在他们自己的网站上发布了更多活动，我们将为您补充所有进一步的信息。
2022
- 2022年ARD音乐比赛
2022年8月29日至9月16日，慕尼黑，德国 - 波尔多四重奏比赛和音乐节 莫迪利亚尼四重奏（Quatuor Modigliani）
2022 年5月9日至14日，波尔多，法国 - 克莱恩蒙大纳国际古典（Crans-Montana Classics）耶路撒冷弦乐四重奏大师班
5-13日2022 年 8 月，Crans-Montana / 瑞士 - 伊京春季音乐会季
2022年3月至12月，伊京，德国 - 国际弦乐四重奏比赛, 威格莫尔音乐厅
2022年4月5日至10日，伦敦，英国 - 德国青年音乐节 ，沃格勒四重奏
2022年9月7日至18日，魏克斯海姆，德国
与乐团独家合作
- 琥珀四重奏大师班和音乐会
- 2022年1月至12月，北京，中国
2023
- 弦乐四重奏峰会，埃茂宫@ Schloss Elmau，艾班弦乐四重奏
- 与慕尼黑音乐学院合作
2023年1月26日至29日，埃茂宫，德国
- 第一届国际弦乐四重奏比赛，巴登特尔茨 2023
2023年4月16日至20日，巴登特尔茨，德国
2021年ARD音乐比赛
2022年克莱恩蒙大纳国际古典
© CMClassics_ChabLathion
琥珀四重奏
Blog
Newly discovered 20th-century classics: Bartók’s six String Quartets in the Complete Edition
September 19, 2022. The Béla Bartók Complete Critical Edition that since 2017 the publisher G. Henle has been publishing jointly with the Hungarian Editio Musica Budapest, has produced an impressive seven volumes in its first five years. From the Works for Piano 1914–1920 to the large pedagogical cycles For Children and Mikrokosmos to a weighty volume of Choral Works and the famous Concerto for Orchestra, these volumes already cover the most diverse areas of Bartók’s oeuvre – though still lacking the chamber music. All the more fitting then that the volume with the String Quartets Nos. 1–6 should appear this spring and hence just in time for the string-quartet year at Henle.
From the First to the Second Vienna School: 20th-century string quartets in the Henle catalogue
July 18, 2022. Henle is dedicating 2022 to a specific genre: under the motto “Henle4Strings” we would like to spotlight our diverse range of Urtext string-quartet editions that might otherwise get somewhat lost in our huge piano-music catalogue. Did you know, for example, that George Gershwin did not compose only for piano or stage, and that in our program we have a truly contemporary quartet composition from 2016…?
A Milestone in Music History: Schoenberg’s 2nd String Quartet op. 10
April 25, 2022. Arnold Schoenberg, in his letter thanking well-wishers on his 75th birthday in September 1949, said that he had come to terms with the fact that he could no longer count on a full understanding of his work during his lifetime, captioning his statements, partly painfully bitter, partly self-assuredly proud, with the headlining set phrase ‘To gain recognition only after one’s death –– !’.
Four parts, many questions: on the editing of string quartets
March 28, 2022. Well-disposed visitors to our various digital platforms already know that under the motto “Henle4Strings” the focus in 2022 is on the string quartet. So it’s also high time for our blog to start dealing with this topic, especially since – apart from regular reports on the progress of the major Mozart string-quartets project – the genre has not really been properly elucidated here.
Attempt at re-dating Mozart’s three popular “Quartet-Divertimenti”, K. 136–138
May 10, 2021. In conjunction with my Urtextausgabe of the well-known and much-played “Divertimenti”, K. 136–138, just about to be published, it became clear that Mozart’s own, unusually vague dating at the head of his autograph, “Salisburgo 1772”, cannot be entirely accurate. I’m assuming, rather, that he was already working on the composition of these three works in Milan from the late autumn of 1771, only then to finish them in Salzburg at the start of 1772. I’d like briefly to substantiate this hypothesis in this blog post.
“Bozen this pigsty”. Why there’s no “Bozen string quartet” by Mozart
February 2, 2021. When for the third and last time at the end of October 1772 the Mozart father and son came through the South Tyrolean city of Bozen [Bolzano] on their way to their Milan destination, Wolfgang was hungry and in a foul mood. How else to explain his coarse rhyme about this beautiful city: ‘Bozen this pigsty. || A poem by someone who was foxily-devilishly wild and enraged by Bozen.[:] If I should come to Bozen again, I’d rather beat myself in the private parts.’
An insightful correction in Mozart’s autograph of the String Quartet in C major K. 170
July 22, 2019. In a few weeks a long-cherished dream of mine will come true: This 2019 autumn we are going to publish Mozart‘s early Viennese String Quartets K. 168 – 173, in Urtext (HN 1121 and HN 7121). To be sure, the text that I’ve edited and our production team has magnificently typeset and printed will not be presented as any totally “new Mozart”, but in the end will feature in detail many, many improvements for the quartet-playing profession.
An unaccountable (?) fermata notation in Mozart’s string quartet K. 428
January 7, 2019. 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.
“Lunga e laboriosa fattica” – Attempting to interpret Mozart’s c-minor trio from the String Quartet K. 465/iii
October 30, 2017. When the composer’s autograph manuscript of a music work is extant, then we have a unique opportunity of “looking over the creator’s shoulder” as the ideas are being written down. The mysterious creative process is nevertheless revealed only to those who can then question the existing autograph text, going beyond what is purely philological, editorially speaking. It is my firm conviction that here autograph corrections are the ideal way to start. The musico-analytical curiosity that asks of a correction, “Why?”, in qualitative terms, opens a door otherwise forever closed.
Non-stop “lombardic” rhythm? On a minute text problem in Mozart’s d-minor String Quartet K. 421
July 3, 2017. The exceptionally lighthearted D-major Trio of the Menuetto in Mozart’s otherwise so darkly dramatic d-minor String Quartet K. 421 has always been one of my favourite pieces. The first violin, with its “pizzicato” accompaniment by the lower strings, cleverly plays there with reminiscences of folk music: on the one hand, it is quite obviously striking up a yodel, recognisable by the simple triadic melodicism flipping repeatedly from “chest” to “head” voice, just like a real alpine yodler; on the other, the entire movement is almost prototypically pervaded by the so-called “lombardic” rhythm, unmistakeable signs, for instance, of Scottish, Hungarian or Slavic folk music (recognisable in the inverse-dotted, syncopated rhythm):
The charm of the unsettling. A special autograph correction of Mozart’s in the finale of the F-major string quartet K. 590
September 19, 2016. Mozart connoisseurs and admirers know of course about what is bizarre in the finale of his very last string quartet, K. 590. In its development the harshness of the tone language is particularly unparalleled in the Mozart oeuvre. But the unsettling already starts shortly before the end of the first section: The otherwise so airily sparkling sixteenth notes stall all of a sudden in an almost stranded-like repetitive three-note kink. It is just this spot that Mozart vehemently corrected in his manuscript. The investigation of this correction offers us at hand an analytical key to the understanding of this absolutely special movement.
A Bohemian in America: Is Dvořák’s String Quartet in F Major wrongly accented?
November 9, 2015. Antonín Dvořák, director of the National Conservatory of Music in New York City, 1892–95, composed the String Quartet in F major op. 96 early in the summer of 1893 in Spillville, Iowa, where he went to spend his vacation. It is, as he specifically recorded on the autograph of the score, his second composition to originate in the United States, for it was directly preceded by the famous 9th symphony with its much-discussed leanings on the traditional music of native Americans (Indians) and Afro-Americans.
“It’s all so wonderful!” On the new edition of Mozart’s string quartets
December 8, 2014. A few weeks ago I began editorial work on a group of compositions that I have long been involved with and that I adore: Mozart’s string quartets. G. Henle publishing house will publish them complete in my new Urtext editions (parts and scores). Appearing at the end of 2015 as the first fruits of this painstaking labour will be volume 4: the “Hoffmeister Quartet” KV 499, as well as the three “Prussian Quartets” KV 575, 589 and 590. The rest of the string quartets in chronologically reverse order will then follow in the coming years.
Where does the key/clef go? About a problematic passage in Schumann’s F-major string quartet
July 7, 2014.
Fans of the humourist Wilhelm Busch will certainly be reminded of the story of Master Zwiel who, upon returning from a tavern on a cold winter’s night, stands at his front door with key already in hand and vainly seeks the keyhole.
The story ends tragically: Master Zwiel loses the key and falls while searching for it into a water barrel where he finally freezes to death.