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Gioacchino Rossini: Une Larme For Double Bass And Piano

Gioacchino Rossini: Une Larme For Double Bass And Piano

In the late 1850s, when Rossini was composing only for his own private pleasure, he wrote a little elegy for Double Bass and Piano that he entitled “ Une Larme ” (“a tear”). Its theme also served as the basis for a larger-scale set of variations for Cello and Piano. The importance that Rossini ascribed to this short piece for Double Bass is demonstrated not least by the fact that he made a richly ornamented dedication copy of it in 1858. This hitherto little-known source is in Russia and has now been consulted for the first-ever time for a critical Urtext edition. As in Henle’s other Urtext editions for this instrument, the Double Bass specialist Tobias Glöckler has prepared a version in solo tuning and orchestral tuning and added fingerings and bowings to the solo part.

SEK 176.00
1

Johann Baptist Vanhal: Double Bass Concerto

Johann Baptist Vanhal: Double Bass Concerto

Following Dittersdorf (HN 759) and Hoffmeister (HN 721), Johann Baptist Vanhal and his sole Double-Bass concerto add a further highlight to the classical Bass literature in the Henle catalogue. The virtuoso work was transmitted only in a copy of a part owned by the famous Double-Bass player Johannes Sperger (1750–1812) and found in his estate, which raises a few questions on account of the many later additions in the solo part (especially concerning the octave transpositions). In this Urtext edition, Tobias Glöckler proposes a solution to this dilemma with a musical text that is outstandingly well-prepared for the performing artist. The Piano reduction is printed in two keys (C and D major), which allows for performances in the solo and orchestral tuning or, at will. Moreover an additional part, written in fingering notation, has been specially designed for use with the "Viennese tuning" customary in Vanhal 's days. It allows players to use this resonant historical tuning immediately without tedious retraining.

SEK 388.00
1

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technical challenges have earned it a permanent place in the teaching repertoire, yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit, even in the low register.The ease with which a great composer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All the more astonishing, therefore, that the Elephant, although widely known, is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries, as well as fingering and bowing of the double bass part, by Tobias Glockler. The accompaniment is notated in E flat and F, and so the double bass can perform using either solo tuning or orchestra tuning.

SEK 128.00
1

Karl Ditters von Dittersdorf: Double Bass Concerto in "E major" Krebs 172

Karl Ditters von Dittersdorf: Double Bass Concerto in "E major" Krebs 172

With this cornerstone of the Double Bass repertoire we continue a still young but important part of our catalogue. This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time, we also provide a solo part in fret notation. The Piano part in D major and E major (!) can be used to accompany the Double Bass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.

SEK 372.00
1

Franz Anton Hoffmeister: Concerto "No. 1" for Double Bass and Orchestra (with Violin obbligato)

Franz Anton Hoffmeister: Concerto "No. 1" for Double Bass and Orchestra (with Violin obbligato)

Thanks to its wealth of invention, elegant workmanship, and technical and musical challenges, Franz Anton Hoffmeister's Concerto "no. 1" has emerged as the preferred concerto for double bass auditions. Tobias Glöckler's edition leaves no wishes unfulfilled: the double bass part appears in solo and orchestral tuning with piano reductions in D major and C major. Moreover an additional part, written in fingering notation, has been specially designed for use with the "Viennese tuning" customary in Hoffmeister's days. It allows players to use this resonant historical tuning immediately without tedious retraining. Finally, a separate part is also provided for the solo violin appearingin the second movement.?

SEK 314.00
1

Joseph Haydn: The Seven Last Words of Christ Hob.XX/1B (String Quartet)

Joseph Haydn: The Seven Last Words of Christ Hob.XX/1B (String Quartet)

At the end of the 18th century, the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ?s hour of death; its focal point was the reading and interpretation of Christ?s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success, the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part, only a few changes had to be made to the string parts. Here is the Henle Urtext Edition of Joseph Haydn's The Seven Last Words of Christ arranged for String Quartet, based upon on the musical text of the Haydn Complete Edition.

SEK 393.00
1

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

At the end of the 18th century, the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ?s hour of death; its focal point was the reading and interpretation of Christ?s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success, the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part, only a few changes had to be made to the string parts. Here is the Henle Urtext Study Score of Joseph Haydn's The Seven Last Words of Christ arranged for String Quartet, based upon on the musical text of the Haydn Complete Edition.Also available as part of a 12 part set including all Haydn's works for String Quartet, Cat. No. HN9216

SEK 208.00
1

Claude Debussy: Préludes, Deuxième livre

Claude Debussy: Préludes, Deuxième livre

In 1913, three years after publication of the Préludes I, another collection of twelve Préludes appeared. The pieces are longer and make use of a very wide register, which is why Debussy mainly notated them on three staves. As with the first volume of Préludes the programmatic additions only appeared at the end of each piece. The cycle closes with the virtuosic and brilliant Feux d’artifice , fireworks of pianistic bravura in the true sense of the word. The Piano writing and title of no. 11, Les tièrces alternées , already hints at the twelve Études of 1915 (HN 390) with which Debussy was to end his Piano oeuvre.

SEK 330.00
1

Wolfgang Amadeus Mozart: String Duos

Wolfgang Amadeus Mozart: String Duos

After moving to Vienna in 1781, Mozart returned only once to his hometown of Salzburg, and that was from the end of July to the end of October 1783 in the company of his young wife Constanze. Just as we know little for certain about the events of those months, Mozart also seems to have composed equally little there. Just these two exquisite duos for violin and viola come from this period, and even they were apparently written as a friendly favor for Salzburg composer Michael Haydn (younger brother of the great Joseph Haydn), who for reasons of acute ill health was unable to complete a commissioned composition. Henle’s Urtext edition is based on the carefully notated autographmanuscripts, the first edition appeared only in 1792, shortly after Mozart’s death, making its value as a source debatable. In addition to a complete score of this wonderfully intimate chamber music, foldout instrumental parts are included, facilitating comfortable performance.

SEK 250.00
1

Frédéric Chopin: Ballades (Henle Urtext Edition)

Frédéric Chopin: Ballades (Henle Urtext Edition)

In 1836 Chopin introduced the term "ballad" into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. This Henle Urtext edition has been revised to include the latest scholarly findings.

SEK 282.00
1

Claude Debussy: Suite Bergamasque

Claude Debussy: Suite Bergamasque

The Suite Bergamasque is one of the most famous Piano suites by Claude Debussy . Debussy wrote the first version of it in 1890, but the final version wasn’t finished or published until 1905. The suite recalls rococo decorousness with a modern cynicism and puzzlement, and contains one of Debussy 's most popular pieces, Clair de Lune (ca. 6.40 minutes). The other three movements are: Prelude (ca. 6 minutes), Menuet (ca. 5.15 minutes) and Passepied (ca. 5.30 minutes). Every movement in the suite reflects Debussy ’s non-traditional, ‘impressionist’ style, largely influenced by symbolism. According to the traditional belief Suite Bergamasque is a basic reflection of end of the century French symbolist poet, Paul Verlaine’s Fêtes galantes (Gallant parties). This Urtext edition takes the original edition as its basis and the comments at the end of it provide detailed information on the sources and alternative readings. A preface by François Lesure is also included. Just as most other Piano works of Debussy , Suite Bergamasque is a challenging, but rewarding piece. Movements may be played separately or together.

SEK 160.00
1

Franz Liszt: Funérailles (Urtext)

Franz Liszt: Funérailles (Urtext)

Liszt ‘s Funérailles is a broadly conceived, virtuoso funeral march that has found a permanent place in the repertoire of all great pianists while remaining within the reach of talented amateurs. This separate print from Liszt ‘s cycle "Harmonies poétiques et religieuses" (published by Henle in HN 639) opens with a new preface by the editor devoted specifically to Funérailles . Critical comments on the sources and on peculiarities of the musical text can be found at the end of the volume.

SEK 149.00
1

Claude Debussy: Préludes, 1er livre

Claude Debussy: Préludes, 1er livre

After several single pieces and several smaller Piano cycles, in 1910 the recently composed Préludes, Premier Livre was published. The title draws on a traditional form, following Chopin’s example. In addition Debussy discreetly characterized his Préludes by dispensing with titles but giving the pieces programmatic directions at the end of each Prélude. This first volume became an immediate success and even today is considered to be the epitome of Debussy ’s Piano artistry. Some of these more substantial pieces are also within reach of those who do not intend to become concert pianists.

SEK 308.00
1

Muzio Clementi: Six Sonatinas Op.36

Muzio Clementi: Six Sonatinas Op.36

Towards the end of the 18th century, Clementi increasingly advocated the piano as the successor to the harpsichord. He composed expressly for the new instrument and in 1801 published a piano school. His interest in teaching is also shown by the ?Six progressive Sonatinas? op. 36 - six sonatinas in ascending order of diffi culty, which are still extremely popular with today's piano teachers. Our Urtext edition follows the long established practice of using the musical text of the first edition from 1797. Clementi?s original fingering, which is surprisingly modern, has been included throughout the work.

SEK 245.00
1

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

Bach’s six violin soli have come down to us in a particularly beautiful fair copy made by the composer himself. They, along with the six cello suites, are regarded as musical and technical milestones of musical literature. Bach skillfully employs the resources of the violin to produce genuine polyphony in some sections through the use of arpeggiated chords and double stops. The culmination of these achievements is the famous Chaconne from the second Partita, which achieves great musical density while presenting the violinist with previously unheard-of technical challenges. The part marked by Wolfgang Schneiderhahn accommodates practical use and includes suggestions foraccords and arpeggios.

SEK 234.00
1

Ludwig Van Beethoven: Seven Bagatelles Op. 33

Ludwig Van Beethoven: Seven Bagatelles Op. 33

The autograph of Beethoven’s Bagatellen op. 33 mentions the year 1782 in its title. The date, and the fact that Beethoven amended it, have led to a number of speculations concerning the time of its genesis. What is certain is that the seven pieces were not completed until about the end of 1802. Beethoven seems to have compiled several earlier pieces, revised them one last time, then gave them to the publishers. The first edition was issued in May 1803 and today’s pianists are still just as enthusiastic about these little gems as they are about many of Beethoven’s other major or minor masterpieces.

SEK 139.00
1

Johann Sebastian Bach: Inventions And Sinfonias

Johann Sebastian Bach: Inventions And Sinfonias

Johann Sebastian Bach ’s Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection, Bach himself called it an “Instruction” which teaches students and keyboard lovers to “treat correctly” both two and three voices, to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. To this end, Bach created timelessly beautiful music which has lost nothing of its relevance to us nearly 300 years after its creation. We are now presenting a new edition of this classic collection, which draws upon all known sources and offers the best in “instruction”, especially with respect to the transmitted embellishment variants. 

SEK 308.00
1

Isaac Albéniz: Iberia - Third Book

Isaac Albéniz: Iberia - Third Book

Since their publication as Urtext editions, the first two volumes of ?Iberia? issued by G. Henle Publishers have become an established part of the pianists? world. Now comes the third book, in which Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music. In ?El Albaicín? he evokes the mysterious atmosphere of the gypsy quarter in Granada, followed by hints of temperamental Flamenco in ?El Polo?. At the end, Albéniz depicts the exuberant mood of a former Jewish quarter in Madrid (?Lavapiés?); in so doing he intersperses the music with some dissonant dashes of colour, an allusion to an organ grinder.

SEK 330.00
1

Theodor Kirchner: Selected Piano Works

Theodor Kirchner: Selected Piano Works

Theodor Kirchner was a successful pianist, pedagogue and composer in Leipzig, Dresden, Zurich, Winterthur and Hamburg. His very extensive output includes works for piano, organ, chamber music and choir. To the very end, Kirchner remained a master of the piano miniature in the tradition of Mendelssohn and Schumann, with characteristic work-titles such as “Album leaf” (op. 7), “Night pictures” (op. 25) and “In quiet hours” (op. 56). His waltzes, polonaises and mazurkas are also worth playing and hearing. This anthology, in customary Urtext quality with 34 piano pieces from all phases of Kirchner’s life, is an outstanding starting point for mastering the works of this Germanromantic.

SEK 367.00
1

Claude Debussy: La Cathédrale Engloutie Preludes 1 No.10

Claude Debussy: La Cathédrale Engloutie Preludes 1 No.10

This single edition – it is number 10 in the first volume of the Préludes (HN 383) of 1910 – shows the extent of Debussy ’s imagination as he conjures up the old city of Ys that has sunk into the sea. Debussy enjoyed playing this piece himself and also left behind a recording on Piano roll. This gives important insights into his tempi. The term prélude, reminiscent of Chopin, makes clear the return to traditional forms, which the now established composer was slowly embracing once again. The programmatic title, as with all of the Préludes, is only given at the end of the piece, thus underlining its passing significance.

SEK 128.00
1