Author Archives: Wolf-Dieter Seiffert

“It’s all so wonderful!” On the new edition of Mozart’s string quartets

Posted on December 8, 2014 by Wolf-Dieter Seiffert

A few weeks ago I began editorial work on a … Continue reading →

Posted in Alban Berg Quartet, dynamics, G. Henle Publishers, Monday Postings, Mozart, Wolfgang Amadeus, string quartet, String Quartet K. 589 (W.A. Mozart) | Tagged , | 2 Comments

‘It is G! Bravo, and a thousand thanks.’ Günter Henle’s guestbook (and a wrong note in Beethoven)

Posted on September 15, 2014 by Wolf-Dieter Seiffert

The violinist Yehudi Menuhin was without question amongst Günter Henle’s … Continue reading →

Posted in autograph, Beethoven, Ludwig van, first edition, G. Henle Publishers, Monday Postings, piano + violin, Urtext, variant reading, Violin Sonata op. 96 (Beethoven), Yehudi Menuhin | Tagged , , , | Leave a comment

A “new” Mozart work. On the c-minor “Fantasy” (K. 396/385f) in its original setting for violin and piano

Posted on June 9, 2014 by Wolf-Dieter Seiffert

In the year 1821 three distinguished personalities met in Weimar: … Continue reading →

Posted in autograph, Fantasy K. 396(385f) (W.A. Mozart), Monday Postings, Mozart, Wolfgang Amadeus, Noah Bendix-Balgley, piano + violin, Robert D. Levin | Tagged , , , | Leave a comment

Listeners are also only human

Posted on March 31, 2014 by Wolf-Dieter Seiffert

Observations on the necessity of body language in piano playing … Continue reading →

Posted in Alfred Brendel, Beethoven, Ludwig van, Hungarian Rhapsody (Liszt), Lang Lang, Liszt, Franz, Marc-André Hamelin, Monday Postings, piano solo, Piano Sonata op. 31 nr. 3 (Beethoven), Piano Sonata op. 7 (Beethoven), Piano Sonata op. 81a Les Adieux (Beethoven), Victor Borge | Tagged , , , , , , , | Leave a comment

A forgery? And if so, by whom? On the closing bars in Mozart’s Wind Quintet K. 452

Posted on September 30, 2013 by Wolf-Dieter Seiffert

The autograph of Mozart’s piano quintet for piano and four … Continue reading →

Posted in autograph, Monday Postings, Mozart, Wolfgang Amadeus, notation, versions, Wind Quintet K. 452 (W.A. Mozart) | Tagged , | 3 Comments

Schubert deletes, Brahms restores. On the first of the three posthumous piano pieces (Impromptus) D 946 by Franz Schubert

Posted on July 22, 2013 by Wolf-Dieter Seiffert

Schubert did not live to see the publication of his … Continue reading →

Posted in Andreas Staier, autograph, Brahms, Johannes, first edition, Impromptus D 946 (Schubert), Monday Postings, piano solo, Schubert, Franz, Sviatoslav Richter | Tagged , , , , , , | 13 Comments

Commenting on a decisecond Bach – B or B flat in the B-flat major ‘Corrente’ BWV 825

Posted on May 13, 2013 by Wolf-Dieter Seiffert

A short time ago our attention was drawn to a … Continue reading →

Posted in András Schiff, Bach, Johann Sebastian, Claudio Arrau, Monday Postings, Partita BWV 825 (J.S. Bach), piano solo, variant reading | Tagged , | Leave a comment

Piano Trio Question: Why really are pianists ‘allowed’ to play from the score, but not string players? And since when?

Posted on November 12, 2012 by Wolf-Dieter Seiffert

Notice: There’s a prize question at the end of this … Continue reading →

Posted in Monday Postings, notation, piano trio | Tagged , , , , , | Leave a comment

Will versus Caprice. On the the closing measures of Robert Schumann’s C-major Fantasy op. 17

Posted on August 20, 2012 by Wolf-Dieter Seiffert

What you can see here is the last page of … Continue reading →

Posted in autograph, Fantasy op. 17 (Schumann), Monday Postings, piano solo, Schumann, Robert, variant reading | Tagged , , | 7 Comments

Getting the accents right. On the Rondo theme in Schubert’s “Arpeggione” Sonata (3rd movement)

Posted on May 28, 2012 by Wolf-Dieter Seiffert

Tabea Zimmermann, the fabulous violist, writes:

Posted in accent, Arpeggione Sonata (Schubert), Monday Postings, notation, piano + viola, Schubert, Franz | Tagged , , , | Leave a comment