Category Archives: Sources

Deluxe for the continuo group – Part II: Telemann

Posted on March 13, 2017 by Norbert Müllemann

It was nearly three years ago, on 17 February 2014, … Continue reading →

Posted in copy, first edition, harmonics, Telemann, Georg Philipp, variant reading | Tagged , | Leave a comment

Urtext from A to Z! What you’ll want to know about our new edition of Alexander Zemlinsky’s Clarinet Trio op. 3

Posted on January 16, 2017 by Dominik Rahmer

With our freshly released Urtext edition of the stunning “Brahmsian” … Continue reading →

Posted in first edition, Monday Postings, Trio for Piano, Clarinet and Violoncello op. 3 (Zemlinsky), Zemlinsky, Alexander | 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

Johann Jacob Froberger on his 400th birthday

Posted on November 14, 2016 by Norbert Müllemann

Many Urtext enthusiasts will already have noticed in 2014 that … Continue reading →

Posted in autograph, Froberger, Johann Jacob, measure numbering, Monday Postings, piano solo, Urtext | Tagged , , | 1 Comment

Haydn’s complete cello concertos at Henle: 3, 8, 5 or 2?

Posted on October 17, 2016 by Annette Oppermann

To the question of how many cello concertos Joseph Haydn … Continue reading →

Posted in autograph, copy, first edition, Haydn, Joseph, Monday Postings, Urtext, versions, violoncello | Tagged , , | 7 Comments

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

Anton Webern: Now also “in blue”!

Posted on July 25, 2016 by Norbert Müllemann

We are always welcoming new composers to our Henle catalogue. … Continue reading →

Posted in autograph, G. Henle Publishers, Glenn Gould, Monday Postings, piano solo, Urtext, Variations op. 27 (Webern), Webern, Anton | Tagged , , , | 1 Comment

All good Viennese come in threes: Dittersdorf, Hoffmeister and Vanhal

Posted on June 27, 2016 by Annette Oppermann

With our most recent Urtext edition of Johann Baptist Vanhal’s … Continue reading →

Posted in articulation, copy, double bass, Double Bass Concerto (Vanhal), Monday Postings, Tobias Glöckler, Vanhal, Johann Baptist | Tagged , , , | Comments Off on All good Viennese come in threes: Dittersdorf, Hoffmeister and Vanhal

A Henle customer suggests corrections to the text of Max Reger’s 2nd Cello Suite. How do we as publishers respond to this?

Posted on June 13, 2016 by Wolf-Dieter Seiffert

Today, a brief but we hope all the more valuable … Continue reading →

Posted in first edition, Monday Postings, Reger, Max, Three Suites op. 131c for Violoncello solo (Reger), Urtext, violoncello | 2 Comments

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