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Five Famous Piano Sonatas

Five Famous Piano Sonatas

Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia. Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia.

DKK 256.00
1

Piatti 12 Capricci Op 25 Vlc Stsc

Piatti 12 Capricci Op 25 Vlc Stsc

One of the most celebrated cellists of his day, virtuosic composer Alfredo Piatti performed with the likes of Liszt and Mendelssohn Bartholdy. His 12 Capricci Op. 25 are a must for all advanced Cello players. Piatti 's 12 Capricci have been compared by Sir Yehudi Menuhin to the Cello Suites by J. S. Bach - in fact, Menuhin referred to the two works as the 'Old and New Testament' of Cello literature. This Henle Urtext publication is the very first time that the work has been produced in a practical study edition.

DKK 150.00
1

Concertino in a minor op. 21 in Hungarian Style : Concertino in a minor op. 21 in Hungarian Style for Violin and Piano

Concertino in a minor op. 21 in Hungarian Style : Concertino in a minor op. 21 in Hungarian Style for Violin and Piano

With this one-movement Concertino, Oskar Rieding turns to already advanced students of the violin. Aside from playing in third position, it also requires a considerable degree of dexterity and mastery of bowing. The Hungarian style” mentioned in the title alludes to the fact that Prussian-born Rieding gave more than three decades of service at Budapest’s National Theatre. Its marked rhythms recall Hungarian folk music and will appeal to more spirited young violinists. The Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer to this Urtext edition: the markings in the solo part are provided by the experienced violinistEvelyne Grüb-Trauer.

DKK 124.00
1

Five Easy Piano Sonates

Five Easy Piano Sonates

This selection of five “easy” sonatas offers advanced students of piano and aficionados the perfect entry point into the singular world of this great composer’s piano sonatas. Arranged in increasing level of difficulty (op. 49, op. 14, and finally op. 2, no. 1), this volume features all the benefits of the new Urtext edition, prepared by maestro Murray Perahia and the Beethoven expert Nobert Gertsch: an extensive preface on the genesis and publication of the works, comprehensive source information and the discussion of problematic readings among the sources, an in-depth essay by Perahia on the sketches and structure of the Sonata op. 14, no. 1, as well as - last but not least! -invaluable fingerings from his pen. This selection of five “easy” sonatas offers advanced students of piano and aficionados the perfect entry point into the singular world of this great composer’s piano sonatas. Arranged in increasing level of difficulty (op. 49, op. 14, and finally op. 2, no. 1), this volume features all the benefits of the new Urtext edition, prepared by maestro Murray Perahia and the Beethoven expert Nobert Gertsch: an extensive preface on the genesis and publication of the works, comprehensive source information and the discussion of problematic readings among the sources, an in-depth essay by Perahia on the sketches and structure of the Sonata op. 14, no. 1, as well as - last but not least! -invaluable fingerings from his pen.

DKK 230.00
1

Morceau de Concert f-moll Opus 94

Morceau de Concert f-moll Opus 94

As with Schumann’s "Concert Piece for four Horns" op. 86 (HN 1138) Saint-Saëns’ "Morceau de Concert" was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player HenriChaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players although the"Morceau de Concert" did! From today’s standpoint the popular work with one movement is not overly demanding technically; in addition, Saint-Saëns himself suggested two abridgements to simplify the piece, meaning that even advanced pupils can ventureto play it.

DKK 175.00
1

Sonata in G major op. 13

Sonata in G major op. 13

Of Grieg’s three Violin sonatas, the great C-minor Sonata op. 45 is the best known today. And unjustly so, because the two early sonatas are captivating in their joy to play and their fresh, youthful tone. And what is more, they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867, the G-major Violin Sonata op. 13, palpably draws on Grieg’s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional “jumping dance.” Aside from the second print edition of 1887 revised by Grieg himself, the autograph manuscript in Stockholm wasalso consulted for this edition, thus offering an optimally ascertained musical text.

DKK 218.00
1

Six Duos (op. 48) for two Violins : Six Duos (op. 48) for two Violins

Six Duos (op. 48) for two Violins : Six Duos (op. 48) for two Violins

These easy duets were published around 1796/97 by Pleyel’s own publishing house both as Six Duos faciles et progressives for two violins and as Six nouvelles Sonatines progressives for piano and violin, though we do not know today which version came first. To this day, the violin duets are favorites for use in violin lessons, but also for making music at home. Though lesser known today, around 1800 Ignaz Pleyel numbered among the most popular composers in Western Europe - which may at first come as a surprise, but which to judge from these very appealing pieces, manageable for advanced beginners, is easily understandable. With an unmarked score and two marked solo parts, the Urtextedition provides optimal material for use in teaching.

DKK 184.00
1

32 Variation Works WoO 64, 70, 77

32 Variation Works WoO 64, 70, 77

The compositions united here provide a good overview of the diversity of the variation genre in Beethoven’s early piano works – and present such moderate technical demands that even advanced beginners might try their hand at them. Beethoven found the models for these variations in popular song collections (WoO 64 on a Swiss song), contemporary opera performances (WoO 70 on “Nel cor più non mi sento” by Giovanni Paisiello), and his own compositions (WoO 77 on a theme from the finale of Piano Sonata op. 22). The revised musical text of the Henle Urtext edition, with its extensive preface and commentary section, was prepared on the basis of the Critical Report in the BeethovenComplete Edition and is published as a stand-alone edition from “Variations for Piano I/II” (HN 1267 and 1269). Ian Fountain provided the fingerings. The compositions united here provide a good overview of the diversity of the variation genre in Beethoven’s early piano works – and present such moderate technical demands that even advanced beginners might try their hand at them. Beethoven found the models for these variations in popular song collections (WoO 64 on a Swiss song), contemporary opera performances (WoO 70 on “Nel cor più non mi sento” by Giovanni Paisiello), and his own compositions (WoO 77 on a theme from the finale of Piano Sonata op. 22). The revised musical text of the Henle Urtext edition, with its extensive preface and commentary section, was prepared on the basis of the Critical Report in the BeethovenComplete Edition and is published as a stand-alone edition from “Variations for Piano I/II” (HN 1267 and 1269). Ian Fountain provided the fingerings.

DKK 107.00
1

Two Easy Piano Sonatas : Nos. 19 And 20 Op. 49

Two Easy Piano Sonatas : Nos. 19 And 20 Op. 49

The two piano sonatas op. 49, described in their first publication as Sonates faciles, are often the first-ever Beethoven sonatas with which advanced piano pupils can demonstrate their ability. Their relatively high opus number ismisleading, however, for both these two-movement works were composed at roughly the same time as the piano sonatas op. 10, between 1796 and 1798. The fact that they were actually published seven years later is presumably thanks tothe business dealings of Beethoven's brother Carl, who initially offered them to several publishers without success. Finally, in 1805, a Viennese publisher relented and accepted them not yet aware of the treasures that had falleninto his lap. These little masterpieces, cast in an easily manageable format, soon became highly popular. This Henle Urtext edition continues our successful revised series of Beethoven's sonatas under the auspices of MurrayPerahia and Norbert Gertsch.

DKK 103.00
1

Six Recorder Sonatas

Six Recorder Sonatas

At the beginning of the 18th century, the recorder enjoyed great popularity as a solo instrument for amateurs. Among these were also the princesses of the English court, for whose musical entertainment and training Handel’s six recorder sonatas were probably written in 1725/26. Only four of them appeared shortly thereafter in print and thus also reached a broader audience; the other two were first discovered for the recorder in the 20th century. Thanks to their melodic and rhythmic incisiveness, the pieces, whose recorder parts are relatively easily mastered, number among the most beautiful written for this instrument. Owing to wide-ranging bass lines and copious figures, the continuo instrument requires a rather well-versed player. In the score of the Urtext edition, Ullrich Scheideler provides a moderate continuo realisation; the additionally available performance score (HN 1574) with figured basso part offers the advanced musician latitude for his/her own improvisation.

DKK 328.00
1

Études et Caprices for Violin solo op. 35

Études et Caprices for Violin solo op. 35

The Viennese Jakob Dont is considered one of the most important Violin pedagogues of the nineteenth century and wrote numerous study pieces that are indispensable classics of the pedagogical literature for the Violin to this day. Among them are, foremost, his 24 “Études et Caprices” op. 35, which were written between 1840 and 1849 but issued in their definitive form by Dont in an overhauled anthology from 1880. This very advanced collection of etudes (conservatory level) was rapidly so successful that innumerable new, mostly heavily reworked editions appeared in the twentieth century from violinists such as Carl Flesch, Max Rostal, or IvanGalamian. Now for the first time, G. Henle Publishers’ Urtext edition restores access to the unadulterated original with Dont’s authentic fingering and bowing suggestions, and in impressive graphic quality with practical fold-out pages. World-class violinist and prominent pedagogue Antje Weithaas acted as a consultant for this edition and carefully supplemented Dont’s original marking.

DKK 184.00
1