How Sheet Music Is Made with Annette and Norbert from Henle / Classical Chats with Tiffany Poon

[@tombufford136]

Being given New music scores was a 'gift'. Having used professional Engineering drawings to build a system , the same appreciation from the 'workmen' wiring and connecting with the drawings (They included the original Manufacturer's bound drawings) I was able to discuss with them. In the same way with music the drawings were international with the new system connecting into German and other built systems. These old drawings have an illustriousness to them. The Warsaw museum displays some of Frederic Chopin's original Manuscript I understand. Tiffany's interview highlights the highly detailed and technical work behind Sheet Music. Many thanks to all of you.

[@JimNicholls]

Another truly fascinating interview, even for a non-musician like me. Thank you so much, Tiffany!

[@andresgunther]

I can imagine how much work it is to edit an all new Urtext score, after two centuries of "All New Edited and Critically revised by [forgotten celebrity name here]" editions - to one side, and scholars discovering new details (like, some of Bach's works weren't written by J.S. Bach)... great work you are doing, and what we most like, score books are bound in a way they stay open on the desk! And thanks for supporting "Together with Classical"!

[@IpekBozkurt]

Oh this is brilliant! I didn't want it to end. What a great holiday treat for us! Many thanks!

[@crigsbe]

Thank you very much Annette, Norbert & Tiffany for this beautiful, interesting and joyful eye opener. Keep up your excellent work. I like to meet you again. Sincerely greetings from Bern, Switzerland

[@VidCLR]

thank you for this video! I learned a lot!

[@ministryofdressing]

Such an interesting video ! Thank you so much ! I now understand why you brought the books with you like you said in the vlog 😉

[@ornleifs]

Loved this as I'm very facinated by Sheet Music and have a facebook group on that topic and of course I shared this video there.

[@Tylervrooman]

Hopefully you can make shows again!

[@mtrapman]

Really fantastic chat! (Even the video-editing!). One thing that the editors did not explicitly say (because maybe they thought it was too evident) that these composers had no way to record their music except writing it down. Music only spread either by hearing live performances, or in writing/print. (Also this meant that the owner of the written and printed notes became in a way 'the owners' of the music and the actual handlers of music rights. (good reading: 'ta-ra-ra Boom De-ay' by Simon Napier Bell - the business of popular music) Through this chat I really came to realise what it must have been for a composer to have to refer to memory in stead of nowadays one can refer to recording. It is in a way mindboggling. This explains the multitude of Urtexts and the , in fact, explorative aspect of each singular notation that we still have from this time. And a very good warning against taking the currently written notes as definitive. It must be exciting work to be allowed to handle these urtexts in libraries and so on; it was heartwarming to hear the love of these two editors for their work and to see the colourful pages they create! And then, there is the transfer of handwritten music to wood-print, lead print, and after that analog photo/offfset and finally digitized forms that by themselves are quite unforgiving when it comes to the notation of all the subtilties that composers (and performers) are able to create. Tiffany, thanks for asking the right questions to the right persons! (I must say that your authority as a performer and blogger probably made that you got a serious response, where normal people very often have to deal with editing houses that do not want to spend this kind of time for explanations - instead of just refusing rights to applicants...). again thanks Tiffany and Henle verlag.

[@Зеленыйслоник-е8ъ]

Thanks for this interview, very interesting and insightful!

[@skysong108]

Fascinating video. Thank you!

[@soulpriest1866]

I find find it amazing how a particular culture preserves its finest art... Bravo

[@CHAN-wt2yi]

I concur - very interesting video. I never realized how much expertise and effort it takes to produce a score as close to authenticity as possible. So even the masters had doubts, indecision and perhaps afterthoughts striving for optimum.

[@makamurphy]

Love this!!! Thank you!

[@rinardman]

Very interesting.

[@yasmilady]

I loved this episode ! I will never look at my Henle music sheets the same way ever again. Thank you so much !

[@renegrosheintz-laval9146]

Absolutely superb! Really interesting and important information! Thank you all.

[@ral8452]

merry Christmas-- and happy new yeaR

[@Daniel_1223]

For me this was one of the best episodes you’ve done, it was really interesting.

[@James_Bowie]

Fascinating. 👍

[@travisarnesen435]

Very Interesting, Tiffany! Parallel appreciation for the work and style comparing with my Studies of a literary genre of antique manuscripts relating to development of occult philosophy and practice - which evolved through centuries (, millenia,) and history; changing with cultures through geography and time: an incredibly complex and dynamic processing. So appreciation, for example, when holding a text which was compiled and edited by scholars utilizing multiple manuscripts and Translations {how many People this information passed through - and through much Time and situations! .. ,

[@daguitarman808]

Sugoi 🤘😷👍

[@mike-williams]

While there is no "music spell-checker", using modern notation software does the time-counting for you. When I'm transcribing old music sheets, I find so many timing and notation errors, often because the published score times in each measure or beat simply don't add up!

[@camaycama7479]

First! Hi dear Schuman provider!

[@williamgreen1512]

Has anyone ever seen those " music type writers " !?.

[@jannis11]

Noice