Category Archives: Monday Postings

A wrong ‘D’ goes out into the world – Rachmaninoff’s Prélude in c sharp minor under the magnifying glass

Posted on January 20, 2014 by Dominik Rahmer

The last blog posting on 6 January has already let … Continue reading →

Posted in autograph, first edition, Monday Postings, piano solo, Prélude in c sharp minor (Rachmaninoff), Rachmaninoff, Sergei, variant reading | Tagged , , , | 13 Comments

Corelli, La Folia and Rachmaninoff’s Variations, Op. 42

Posted on January 6, 2014 by Norbert Gertsch

In May and June 1931 Sergei Rachmaninoff composed his famous … Continue reading →

Posted in Corelli Variations op. 42 (Rachmaninoff), Corelli, Arcangelo, Monday Postings, piano solo, Rachmaninoff, Sergei, Vladimir Ashkenazy | Tagged , , , , , , | 3 Comments

Why facsimiles, actually?

Posted on December 9, 2013 by Annette Oppermann

The blue Urtext editions certainly amount to the lion’s share … Continue reading →

Posted in autograph, facsimile, G. Henle Publishers, Monday Postings, notation, Schubert, Franz, Violin Sonata op. 137 (Schubert) | Tagged , , , , , , , , , | Leave a comment

HN 555 – A printing error in CPE Bach’s sonata for solo flute?

Posted on November 25, 2013 by Norbert Müllemann

These days our latest Urtext product comes from the prin­ter, … Continue reading →

Posted in Bach, Carl Philipp Emanuel, first edition, flute solo, Flute Sonata Wq 132 (C.P.E. Bach), Monday Postings, ornamentation | Tagged , , , , | Leave a comment

‘Pour Piano et Violon ou Violoncelle’ – Is there a cello sonata by César Franck?

Posted on November 11, 2013 by Peter Jost

In connection with the general blog post by Dominik Rahmer … Continue reading →

Posted in Franck, César, genesis, Martha Argerich, Mischa Maisky, Monday Postings, piano + violin, piano + violoncello, versions, Violin Sonata (Franck) | Tagged , , , | 2 Comments

“Hark, Hark! The Joy Inspiring Horn” – Discoveries in Schumann’s Konzertstück, Opus 86

Posted on October 28, 2013 by Dominik Rahmer

For pianists and string players, especially, the name Henle stands … Continue reading →

Posted in autograph, Concert Piece op. 86 (Schumann), first edition, G. Henle Publishers, horn, Monday Postings, notation, Schumann, Robert | Tagged , , , , , , | Leave a comment

Wieniawski’s Scherzo-Tarantella, op. 16: Structural designs for a synthesis between a tarantella and a scherzo?

Posted on October 14, 2013 by gast

As noted in the Preface to the Henle edition of … Continue reading →

Posted in genesis, Monday Postings, piano + violin, Scherzo-Tarantella op. 16 (Wieniawski), versions, Wieniawski, Henryk | Tagged , , , | 4 Comments

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

High time for the low register – the double bass conquers the Henle catalogue

Posted on September 16, 2013 by Annette Oppermann

The strings, together with the main instrument, piano, have all … Continue reading →

Posted in Dittersdorf, Karl Ditters von, double bass, Double Bass Concerto (Dittersdorf), Double Bass Concerto (Hoffmeister), Dragonetti, Domenico, Famous Solo (Dragonetti), G. Henle Publishers, Hoffmeister, Franz Anton, Monday Postings, Tobias Glöckler, Urtext | Tagged , , , | 1 Comment

Ossia and Da Capo – Confusion in Schumann’s Papillons, Op. 2

Posted on September 2, 2013 by Norbert Gertsch

Sometimes a conundrum can’t be solved, even when the source … Continue reading →

Posted in Alfred Cortot, autograph, Claudio Arrau, dynamics, first edition, Jörg Demus, Monday Postings, Papillons op. 2 (Schumann), piano solo, Schumann, Robert, Sviatoslav Richter, variant reading, Wilhelm Kempff | Tagged , , , | Leave a comment