NOTATIO

Great question, and I will attempt to restrain myself. I assume that you know about Schenker's theoretical work. What is often not known is that as a very fine practical musician, his primary aim was interpretation and composition. He felt that the nineteen century had misunderstood what had been ac...

Heinrich Schenker's edition, now very inexpensively reprinted by Dover, has the most natural and musical fingering and the best help with ornamentation etc., and is the one that I require my students to use. It was one of the first practical editions to make serious use of the original sources and, ...

Thanks, Schonbergian. There is a new post on the Henle blog in agreement. Perhaps others will express their opinion. Here is a golden opportunity to express how one feels about the quality of their current engraving directly to Henle...

This system flies in the face of Western musical notation starting with neumes. Since the 1200-year interaction of our notational system with the development of our music has made the two inseparable, all attempts to severe them have and will fail.

I think that the slurs were probably pressed on with Notaset for short and medium and drawn with instruments for the longer and more complex ones. But I never got to that far...

I just responded to the two comments on my critical post at:
http://www.henle.de/blog/en/2017/11/13/ ... ahms-gade/

It seems doubtful that Henle would use an army of freelancers, but if there are only three engravers on staff, they are working very hard!

Sounds great! Thanks very much, Florian.

When I was a student in NYC, I spent several weeks engraving on one of those for a small choral music publisher. They were happy to give me one-on-one instruction, since so few people knew how to use one. Coordinating music and text was harrowing. I eventually quit to have more time for piano practi...

It's a two-level legato mark. They begin to be seen in the later Romantic stye, but I have seen them in earlier manuscripts (but usually omitted by the composer or editor in the first editions as esoteric.) Classic style composers could use short legato slurs without fear of performers clipping the ...

I agree completely with jan. odod's new font is an instant classic, and I want to buy a copy as soon as it is available for Finale.