Haydn & Henle w/ Stephen Hough and Norbert Müllemann

Sticky Notes: The Classical Music Podcast

Joshua Weilerstein

Clarinet, Timpani, Performing, Trombone, Cello, Trumpet, Bassoon, Classicalmusic, Performing Arts, Arts, Violin, Flute, Piano, Conductor, Music, Weilerstein

4.9 • 2.1K Ratings

🗓️ 8 April 2021

⏱️ 40 minutes

🔗️ Recording | iTunes | RSS

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Summary

Have you ever wondered how music gets from the manuscript to the printed page? Today we’re talking about Haydn, and a project by Henle Publishers to reissue all 55 of Haydn’s piano sonatas with fingerings from 55 different pianists! I talked with the editor in chief at Henle, Norbert Müllemann, and also the brilliant pianist Stephen Hough, one of the 55 pianists chosen for this project. We talked about editing, putting fingerings in, and how interpretation is affected by these decisions. This is a fun one!

Transcript

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0:00.0	Hello and welcome to Sticky Notes, the Classical Music Podcast.
0:10.0	My name is Joshua Weylerstein, I'm a conductor, and I'm the artistic director of the Lozon
0:13.7	Chamber Orchestra in Lozon, Switzerland, and the music director of the Phoenix Orchestra
0:17.8	of Boston.
0:19.1	This podcast is for anyone who loves classical music, works in the field, or is just
0:22.8	getting ready to dive into this amazing world of incredible music.
0:26.7	Before we get started, I want to thank my new Patreon sponsors, Steve, Alan, William,
0:31.2	Wade, and all of my other Patreon sponsors for making Season 7 and the show possible.
0:36.8	If you would like to help out the show monetarily, please check out our Patreon page at patreon.com
0:41.7	slash Sticky Notes Podcast.
0:43.7	And one more thing if you are a fan of the show, please just take a moment to give us
0:46.2	a rating or review on Apple Podcasts.
0:49.0	Every rating or review helps more people find the show, and it is greatly appreciated.
0:55.7	Today's show is a really fun one, even if it is a little bit in the weeds, let's say.
1:00.6	The art of editing manuscripts and publishing sheet music is a delicate one, and musicians
1:05.6	all over the world are alternately thrilled, disgusted, and sometimes enraged, with the
1:11.1	results of the decisions of editors who make decisions about what exactly goes into the
1:15.3	sheet music that is then interpreted by the performers.
1:19.3	Editors pour over manuscripts that are often in terrible condition, or that have been
1:23.6	written with such poor handwriting that they are almost impossible to make out.
1:28.8	This is as fealty to the printed score has become almost a religion among classical musicians.
1:34.7	And those same musicians, and I include myself in this, demand ever more precision from
	...

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