Henle editions fingerings

Well, I don't really think it's just random fingering. Certainly, fingering depends on many factors, including anatomical ones. Furthermore, everyone must evaluate whether the fingering reported in the score is correct or if they should replace it with one more suitable to their own anatomical and technical abilities. I always recommend trying at speed as well. The fingering used when playing slowly is not always the most appropriate when playing at speed.

Since you are also taking an interest in the Goldberg Variations, this will be useful for both topics

http://www.pianoconcerto.it/forum/index.php?/topic/605-bach-variazioni-goldberg

fabio73 wrote:

The Henle Urtext always reports fingerings arranged in a scattered and incomplete manner.

The Henle only reports what was written by the composer, so referring to the Goldberg [Variations], Bach did not write them [the fingerings] and if you don't agree with the few indicated, it is probably because they refer to a keyboard technique from another period and with different solutions (for example, the thumb pass arrived much later).

Furthermore, there is no provision for the work of an editor, and I don't think Bach needs one, and to get an idea you can read something here

http://www.pianoconcerto.it/forum/index.php?/topic/2307-il-revisore-questo-sconosciuto

No no... I didn't write... randomly... of course not. I said in a scattered way meaning that you find few scattered fingers with a logic all their own. Yes, maybe Oracolo is right... but... curiosity... how do they pass the thumb? Isn't it already complex to play with the passage? Let alone at tempo... the ancients were old foxes..

They were passing by, excuse me.

They simply almost never went under... Bach was one of the first, but usually they went over the short fingers with the long ones 3-4-3-4, it was a common passage; read the few measures of Bach's 'applicatio' so you can get an idea of what the fingerings were like in the 1700s, at least until Carl Philipp Emanuel Bach.

Great.. do you have a link? Or titles?

In this topic you will find a short list of treatises

http://www.pianoconcerto.it/forum/index.php?/topic/759-il-punto-di-valore/

Frank wrote:

Regarding the treatises, apart from that of C.P.E. Bach (mentioned in passing by "Vale") consisting of 2 volumes, the second of which is very interesting because it deals with Basso Continuo, one can delve much deeper into Baroque performance practice (including ornaments, another thorny subject) through the treatises of Türk, Telemann, and Mattheson.

For those who are particularly masochistic (missing the smile with a sadistic grin, eh eh), there is also that of the musicologist Hans Klotz.

Oh my god, I find the fingerings in the Henle editions devastating... it's a shame because the text is very good both as a critical edition and in terms of graphic design... I often find myself having to erase them and modify them almost entirely... a nightmare!

Pierpier, in fact these are the fingerings indicated by the composer necessary for an execution ... as philological as possible.

If, for example, we play Bach with thumb passages, we will hardly find ourselves in his fingerings, which instead take into account other mechanisms and which, coincidentally, favor the phrasing of the period.

Chopin the very rare original fingerings of the composers on Henle are reported in italics, all other fingerings.

(the vast majority..) that are found on these editions are from some reviser...

Exactly. In fact, in the digital edition, yes, one can choose fingerings from different editors.

That being said, I really like the Henle editions. They are only indicated in difficult passages. I find them very logical, suitable for performance speed; unfortunately, when I am unable to use the indicated fingering, does it depend more on my technical inability than on their incorrectness?