Heugel/Dating

Heugel publications must be dated with precaution.

1. Before 1863, different systems are used (Table 1 - is presented in columns 1 2 3 4 only for visual clarity, but I (Squin) don't know exactly their meanings).
2. Between mid-1863 and 1896, two serial numbers are used - one for vocal scores and the other one for piano scores (Table 2)
3. After 1896 (plate 10000 in piano serial numbers), the two series were unified. According to me (Squin), it might be because Heugel added the numbers of those two series (10000 for piano + 8500 for voice): so in 1897, the new serial numbers start with 18500 (Table 3). But Massenetique notes also : The large jump in numbers between 1895 and 1896 was probably the result of the purchase of the Hartmann catalogue, which was initiated in 1891.
4. Sometimes certain numbers are reserved for composers or special editions. A few non-exhaustive examples : Offenbach's "Barbe-bleue" (4477-4488) & "La belle Hélène" (4489-4498) ; Verdi's "Un ballo in maschera" (5357-5412) between 1882 & 1899 ; Delibes's "Le roi l'a dit" (5341-5352) between 1882 & 1907 ; Massenet's "Hérodiade" (7095-7121) between 1891 & 1921.

During year 1863, two different systems (vocal or piano) are created with coexisting numbers :

• 1) special numbers for serie "Ecole concertante" (piano serie)
• 2) special numbers reserved for Nadaud from No.3863 & after (vocal serie)
• 3) special numbers reserved for Verdi and Delibes (vocal serie)
• 4) No.6321 used year 1924 for "La ruche musicale"(vocal serie)
• 5) No.6931-6935 & 7065 : special numbers reserved (vocal serie) (were they used ? for what ?)
• 6) No.8114 used for Massenet's Grisélidis in 1901.

After 1896, vocal & piano series are unified :

Sources Consulted

DEVRIES Anik & LESURE François : Dictionnaire des éditeurs de musique français - Vol.3 "De 1820 à 1914", Genève: Minkoff, 1979-1988.