Digital synlighed. Målbart afkast.

Song Cycle op. 24 on Poems by Heine

At long last, singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version, edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber, Henle now offers baritones carefully arranged transpositions for low voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Song Cycle op. 24 on Poems by Heine

At long last, singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version, edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber, Henle now offers altos carefully arranged transpositions for medium voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Variations On 'Trockne Blumen' D.802

Just as in his “Trout” Quintet (D 667), “Wanderer” Fantasy (D 760), and string quartet “Death and the Maiden” (D 810), in the flute variations on “Trockne Blumen” (D 802) Franz Schubert employs one of his songs as the thematic basis of an instrumental composition. “Trockne Blumen” (Dried Flowers) is the eighteenth song from the cycle “Die schöne Müllerin” (D 795), composed in autumn 1823. In January 1824, before publication of all of the Müller songs that summer, the Theme and Variations in E minor for flute and piano were written, prefaced by a weighty introductory section. The work remains Schubert’s single and singular virtuoso composition for flautists: tremendouslydifficult for the flute to play, and, incidentally, sometimes very tricky for the piano to “accompany.” Schubert’s much-reworked autograph manuscript is the sole authoritative source for our Urtext, as it demonstrably served as the engraver’s copy for the posthumously published first edition. One of the variations he crossed out entirely the Henle Urtext edition reproduces it, more for informational purposes than for performance, in the appendix.

60 Variations on Barucabà

Nicolò Paganini numbers among the few musicians who attained fame by playing and writing for only a single instrument. His works for violin solo are unique, and his appearances as virtuoso fascinated audiences from the very beginning. Yet, in addition to the violin, Paganini also learned to play the guitar as a child. And before travelling throughout the world he must have got to know the Genoese song “Barucaba” in his hometown of Genoa, writing his op. 14 Variations for violin and guitar upon this song in 1835. We were able to engage musicologist Alberto Cantù and violinist Renato De Barbieri as editors of our Urtext edition of this chamber music work. Barbieri’s helpfulfingerings in the violin part round off the edition.

On an Overgrown Path

Overture on Hebrew Themes Op. 34

Nine Songs Opus 5 : On Poems by Boris Sandler

A new work by cult pianist and composer Evgeny Kissin! These nine Yiddish poems were penned by his friend, the author and lyricist Boris Sandler (*1950). Kissin follows in his very folksong-like settings, which are easy for amateur music-lovers to sing and play, the prevailing mood of each poem, the titles of which - such as “Sternlein mit Mandeln” (Little stars with almonds), “Wenn der Kopf kein Topf ist” (When the head isn’t a pot), “Moschl-Kaposchl”, “Was weiss ich” (What do I know) - promise a subtle, cryptic and also entirely profound humour. This Henle edition presents the Yiddish song texts not only in Hebrew letters, but also transliterated into Latin characters, with an appendix additionally offering German and English prose translations of the poems.

Poet's Love Op. 48 : Song Cycle On Poems By Heine

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen, die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck, an event that took place only after years of struggle. The tried-and-tested Henle Urtext edition by the Schumann specialist Kazuko Ozawa is now also available for singers with low voice: in close collaboration with the experienced pianist and renowned Lied accompanist Gerold Huber, we have adapted the whole cycle, including the four songs of the appendix, for medium and low voices.

Poet's Love Op. 48 : Song Cycle On Poems By Heine

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen, die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck, an event that took place only after years of struggle. The tried-and-tested Henle Urtext edition by the Schumann specialist Kazuko Ozawa is now also available for singers with medium voice: in close collaboration with the experienced pianist and renowned Lied accompanist Gerold Huber, we have adapted the whole cycle, including the four songs of the appendix, for medium and low voices.

32 Variations In C-minor WoO 80

Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.

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.

Diabelli Variations Op. 120

Beethoven's 33 Variations on a waltz by A. Diabelli, composed between 1819 and 1823, are his most significant contribution to the genre. The notice announcing the publication of the first edition aptly claimed that These are novariations of the usual kind but a great and important masterpiece. The Viennese publisher Anton Diabelli had asked 50 composers to write one variation each on his waltz, for publication in an anthology. But instead, Beethovenused it for a comprehensive exploration of the genre's traditions. This Urtext edition, revised on the basis of the Critical Report of the Beethoven Complete Edition, is a stand-alone edition taken from the volume Variations forPiano II (HN 1269). A detailed preface and commentary provide information on the current state of research. The fingerings are by Ian Fountain.

Concerto in B Minor Op. 35 for Violin and Piano

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.

Rondo in C major op. 51 no. 1 : Rondo in C major op. 51 no. 1

The two Rondos op. 51 were written independently of one another and only later consolidated into a single opus by Beethoven’s publisher. The first of these works from 1797 quickly became popular on account of how it combines simple, catchy melody with surprising modulations and expressive, dramatic eruptions within a compact form. With its moderate degree of difficulty, the piece is ideal preparation before embarking on Beethoven’s piano sonatas. Based on her preliminary research for the critical Complete Edition, Beethoven specialist Joanna Cobb Biermann has carefully revised the musical text of the Henle Urtext edition and updated the preface to reflect the latestscholarship.

Orgelstucke

Apart from his organ sonatas, Felix Mendelssohn also composed numerous other works for the king of instruments. The present volume focuses on a selection of eight works from Mendelssohn’s maturity, including the three “Preludes and Fugues”, op. 37. This group of works is, without exaggeration, one of the first important organ works of the 19th century, with which Mendelssohn heralded the second era of organ music after the baroque. The editor of this Urtext edition, organ specialist Wolfgang Stockmeier, explains in his extensive preface how Mendelssohn based his polyphonic works for keyboard instruments on Handel’s, rather than on Bach’s, compositional technique.

Johannes Brahms Werkverzeichnis : Johannes Brahms - Thematic-Bibliographical Catalogue

Whoever needs information on the compositional history of Johannes Brahms' musical works as well as on the transmission of their sources will simply not be able to disregard this catalogue of works (in German). Since itspublication in the mid 1980s, it has been considered to be the irrefutable, reliable reference work. Its author, the Canadian Margit McCorkle, has received several awards for this magnum opus including the Order of Merit of theFederal Republic of Germany.

Paganini-Studies Op. 3 And Op. 10

Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others, Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit, based very closely on Paganini’s original and following their educational intention. Opus 10, on the other hand, deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution, which heplaced at the beginning of his Opus 3.?

Rigoletto, Konzertparaphrase : Rigoletto Concert Paraphrase

Franz Liszt not only wrote a series of opera paraphrases during his virtuoso years, but also composed some in his Weimar years from 1848 onwards. He did not, however, write them for himself but for the pianist friend (who was also his son-in-law) Hans von Bülow. Amongst these works, the paraphrase on Giuseppe Verdi’s “Rigoletto”, which was published in 1860, occupies a special place on account of its incredible virtuosity and at the same time its filigree texture. On the occasion of the 200th anniversary of Liszt’s birth, G. Henle Publishers is presenting a facsimile of the autograph of this work, with an extensive commentary, as well as an Urtext edition (HN 978). Since this is aworking manuscript, the facsimile also offers fascinating insights into Liszt’s manner of working.

Auf dem Strom D 943 : Original Key for High Voice

The scoring of Schubert’s Auf dem Strom (On the River) for voice, horn and piano is reminiscent of that of the Hirt auf dem Felsen (Shepherd on the Rock, HN 969) with obligato clarinet. Both pieces were written in 1828 and each one upon a musician’s request – in this case that of the horn player Rudolf Lewy. Schubert gave the first performance of Auf dem Strom with the latter and the tenor Ludwig Tietze on 26 March 1828 in Vienna. It was such a success that it was soon performed again, and the press raved about it being an “indescribable treat for the ears”. This popular work is now available in a handy format for singers, with, of course, parts for horn in E as well as atransposition for horn in F.

Three Hungarian Folk Tunes

Of the many works Bartók composed on Hungarian and Romanian folk melodies between 1914 and 1918, these three piano pieces occupy a special place. Originally outlined for the collection 15 Hungarian Peasant Songs (Urtext edition HN 1404), the drafts were left untouched for the next twenty years. Not until 1941, when Boosey & Hawkes asked the composer to contribute to an anniversary album for the great pianist Ignaz Paderewski, did Bartók, now settled in the United States, return to these long since notated piano pieces on the folk music of his homeland and thoroughly revise them. Unusually, the first edition issued in 1942 did not include the folk music sources however, they have ofcourse been reproduced in this Urtext edition based on the Bartók Complete Edition. What’s more, Bartók’s own recording of the pieces has been analysed by editor László Somfai, both in his preparation of the text and in Suggestions for Performance. Of the many works Bartók composed on Hungarian and Romanian folk melodies between 1914 and 1918, these three piano pieces occupy a special place. Originally outlined for the collection 15 Hungarian Peasant Songs (Urtext edition HN 1404), the drafts were left untouched for the next twenty years. Not until 1941, when Boosey & Hawkes asked the composer to contribute to an anniversary album for the great pianist Ignaz Paderewski, did Bartók, now settled in the United States, return to these long since notated piano pieces on the folk music of his homeland and thoroughly revise them. Unusually, the first edition issued in 1942 did not include the folk music sources however, they have ofcourse been reproduced in this Urtext edition based on the Bartók Complete Edition. What’s more, Bartók’s own recording of the pieces has been analysed by editor László Somfai, both in his preparation of the text and in Suggestions for Performance.

Studies Op. 18

With these three studies Bartók quite deliberately aimed to leave his mark on New Music in 1918. The first study is a kind of super-charged, motorically vehement Allegro barbaro, while the second, with its effervescent waterfallsof sound, seems redolent of an elegy inspired by Debussy. In the third, by contrast, Schönberg's influence is recognizable. The latter's Private Musical Performances in Vienna were also among the few occasions in the 1920s whereBartók's supremely demanding cycle - for performers and for listeners - was played multiple times. Published by Universal Edition in 1918, the initial printing of the first edition was sold out so quickly that a second was alreadyissued in 1921. László Somfai's Urtext edition is based on the musical text of the Bartók Complete Edition and, in addition to an exciting preface on the origins of the piece, features interesting, practical suggestions forperformance as well. Joint publishing venture with Editio Musica Budapest

Georg Friedrich Händel: Piano Suites (London 1720)

George Frideric Handel’s powerful musical personality reveals itself not only in the large forms of opera, oratorio, and orchestral suite, but also in his compositions for keyboard. The focus here is on the eight Suites of his first printed collection from 1720, which by no means comprise standardised sequences of dance movements. On the contrary -- free-form movements of great artistic weight predominate, inserting themselves between lighter dance pieces. Handel’s suites always display a distinctive individuality, and deserve a larger presence in our concert halls. We were able to engage Handel specialist Anthony Hicks as the editor of this Urtext edition.

Sonaten 1 Opus 5

Johann Christian Bach settled in London in 1762 after acquiring extensive experience in Italy. His Six Sonatas, op. 5, are signposts towards the future classical piano sonata. Bach wrote them for the “Hammerflügel”, which was still a very new instrument at that time, he esteemed the instrument and frequently performed on it in public. On his own London concert tour the young Mozart manifested his enthusiasm for the piano works of the so-called “London” Bach. He was so enchanted by them that he reworked Sonatas 2-4 into piano concertos, known today as K. 107.

1 X 1905

The composition “1.X.1905,” generally referred to as a “sonata,” stems from the autumn of 1905, the peak of the riots between the Czech- and German-speaking populations in Janá ek’s hometown Brno. Reacting to the violent death of a Czech worker, Janá ek wrote a three-part composition for Piano originally bearing the title “From the Street, on October 1, 1905.” Dissatisfied with the work, however, Janá ek is said to have first burned the third movement in his fireplace and then thrown the remaining two movements into the Vltava, even before its premiere. A copy of these first two movements on which thepublication of the first edition was later based is also missing today. For this reason, the Urtext edition of G. Henle Publishers and Universal Edition is based solely on the first edition from 1924, which Janá ek expert Ji í Zahrádka has carefully evaluated and annotated for this volume.