Author Archives: Peter Jost

Debussy in Urtext – Part 2: Unclear harmony in the piano piece “Nocturne”

Posted on March 26, 2018 by Peter Jost

One of the outstanding quality features of the Henle Editions … Continue reading →

Posted in Debussy, Claude, Monday Postings, Nocturne (Debussy), Urtext | Tagged , | 1 Comment

Debussy in Urtext – Part 1: Henle Editions from an experienced duo

Posted on January 29, 2018 by Peter Jost

2012 was the 150th birthday of Claude Debussy, French music’s … Continue reading →

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Viva la música española – Spanish music in Henle Urtext Editions

Posted on October 16, 2017 by Peter Jost

Emerging in the 19th century in nearly all of Europe … Continue reading →

Posted in Albéniz, Isaac, Falla, Manuel de, Monday Postings, Noches en los jardines de España, piano + orchestra, Saraste, Pablo de, Spanische Tänze (Sarasate), transcription, Urtext | Tagged , | Leave a comment

“The future lion is already showing its paws” – The revision of Beethoven’s piano variations, volume 1

Posted on June 19, 2017 by Peter Jost

G. Henle publishing house is well known for putting its … Continue reading →

Posted in Beethoven, Ludwig van, Monday Postings, piano solo, revision, Variations WoO 63 (Beethoven), Variations WoO 65 (Beethoven) | Tagged , , | Leave a comment

“I would like to see this piece published soon” – The first edition of Liszt’s arrangement of Wagner’s overture to “Tannhäuser”

Posted on March 27, 2017 by Peter Jost

The 19th century is rich in artist friendships. That between … Continue reading →

Posted in concert paraphrase of the overture to Tannhäuser (Liszt), first edition, Liszt, Franz, Monday Postings, piano solo, Wagner, Richard | Tagged , , , | 1 Comment

Editions also have their histories. The revision of César Franck’s violin sonata

Posted on November 28, 2016 by Peter Jost

The question of why from time to time editions in … Continue reading →

Posted in articulation, autograph, dynamics, first edition, Franck, César, Monday Postings, new source, piano + violin, Urtext, Violin Sonata (Franck), Yehudi Menuhin | Tagged , , | Leave a comment

Don’t miss a beat! The first movement of Saint-Saëns’ 2nd piano concerto

Posted on September 5, 2016 by Peter Jost

As editors we are occasionally confronted with questions that at … Continue reading →

Posted in autograph, measure numbering, Monday Postings, piano + orchestra, Piano Concerto op. 22 (Saint-Saëns), Saint-Saëns, Camille | Tagged , , , | Leave a comment

A “bad apple” in Camille Saint-Saëns’ 2nd cello sonata?

Posted on May 30, 2016 by Peter Jost

Saint-Saëns was likely far from the “genius thinking” of romanticism. … Continue reading →

Posted in autograph, first edition, Monday Postings, notation, piano + violoncello, pitch range, Saint-Saëns, Camille, Sonata for Violoncello and Piano no. 2 in F major op. 123 (Saint-Saëns), variant reading, versions | Tagged | 1 Comment

Henry Vieuxtemps’s 5th Violin Concerto newly outfitted – Interview with Marie Cornaz and Ray Iwazumi

Posted on March 7, 2016 by Peter Jost

Among the just about one hundred compositions that the violin … Continue reading →

Posted in 5. Violin Concerto in a minor op. 37 (Vieuxtemps), autograph, Monday Postings, piano + violin, sketches, Urtext, Vieuxtemps, Henry, violin + orchestra, Ysaÿe, Eugène | Tagged , | Leave a comment

A Bohemian in America: Is Dvořák’s String Quartet in F Major wrongly accented?

Posted on November 9, 2015 by Peter Jost

Antonín Dvořák, director of the National Conservatory of Music in … Continue reading →

Posted in accent, articulation, autograph, Dvořák, Antonín, first edition, G. Henle Publishers, Monday Postings, notation, Pražák Quartett, string quartet, String Quartet F major op. 96 (American Quartet) (Dvořák) | Tagged , , , , | 2 Comments