Digital synlighed. Målbart afkast.

Robert Schumann: Exercices - Studies On A Theme By Beethoven

An Urtext edition of Robert Schumann's Exercices - Studies On A Theme By Beethoven, as edited by Robert Munster.

Franz Schubert: Variations On 'Trockne Blumen' D.802 (Urtext Edition)

A highly authoritative Urtext edition of Franz Schubert's Variations On 'Trockne Blumen' D.802 Op. post.160 for Flute and Piano, as edited with critical commentaries by Wolf-Dieter Seiffert, and fingered by Klaus Schilde.

Béla Bartók: Improvisations On Hungarian Peasant Songs Op. 20

After his 15 Hungarian peasant songs (HN 1404), these Improvisations on Hungarian peasant songs are the second of Bartók’s works to feature the words “Hungarian peasant songs” in their title. The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók himself as venturing to “the outermost limits”. He also breaks up the song structures so radically into their constituent motives that the title “improvisations” best conveys his approach to this folk music. The musical text of this Urtext edition, edited by Bartók expert László Somfai, is taken from the relevant volume of the Bartók Complete Edition. Comments at the close of this edition offer important hints on performance practice.

Wolfgang Amadeus Mozart: 10 Variations on "Unser dummer Pöbel" KV 455

It is said that in a recital given on 23 March 1783 with the celebrated composer Christoph Willibald Gluck most likely in attendance, Mozart improvised variations on the song “Unser dummer Pöbel meint” from Gluck’s Singspiel Die Pilgrime von Mekka. He later put them to paper and had them printed three years later. It is quite possibly Christoph Willibald Gluck’s celebrity that was responsible for K. 455 being one of Mozart’s musically most demanding variation cycles.

W.A. Mozart: 12 Variations On 'Ah, Vous Dirai-je Maman' K.265

W.A. Mozart's 12 Variations On 'Ah, Vous Dirai-je Maman' K.265 as edited by Ewald Zimmermann and fingered by Walther Lampe, with preface by Ulrich Konrad.

W.A. Mozart: 9 Variations On A Minuet By Duport KV. 573

It is said that in a recital given on 23 March 1783 with the celebrated composer Christoph Willibald Gluck most likely in attendance, Mozart improvised variations on the song “Unser dummer Pöbel meint” from Gluck’s Singspiel Die Pilgrime von Mekka. He later put them to paper and had them printed three years later. It is quite possibly Christoph Willibald GlIn April and May 1789, Mozart, along with Prince Lichnowsky, undertook a journey via Dresden and Leipzig to Berlin, where he presumably played before the Prussian King Friedrich Wilhelm II. No doubt as a friendly homage to the royal chamber music director and cellist Jean-Pierre Duport, he anticipated his meeting by writing during the journey nine variations on a Minuet, also by Duport. Today they belong among Mozart’s most beloved variation cycles. uck’s celebrity that was responsible for K. 455 being one of Mozart’s musically most demanding variation cycles.

Ludwig Van Beethoven: Variations On Folk Songs Op.105 And 107 (Urtext Edition)

An authoritative urtext edition of Beethoven's Variations On Folk Songs, Op.105 and 107 for Flute and Piano, edited by Armin Raab.

Joseph Haydn: Variations On The Hymn "Gott Erhalte" Version For Piano

Haydn only made Piano arrangements of his own works in very special cases. The popularity of his hymn Gott erhalte Franz den Kaiser (God Save Emperor Francis) did not simply occasion him to write the famous movement for the Emperor Quartet op. 76.3. He also later made an arrangement of these variations for Piano. He might have done so following the wishes of the publisher Artaria. Henle now present a new edition of Haydn's arrangement on the basis of the recently revised volume of Piano Pieces. Furthermore, the edition opens with a facsimile of the Emperor's hymn.

Robert Schumann: Variations On A Theme In E-Flat (Ghost Variations)

It was in February 1854, a few weeks before Robert Schumann’s admission to the psychiatric hospital in Endenich, that he wrote his variations on a theme in E-flat major. Because of the extraordinary, personal and moving events of those days, Clara Schumann guarded the manuscript pages of her husband’s final piano composition, dedicated to her and later called “Ghost Variations,” like relics, and prohibited their publication. The first edition was not published until 1939, and in many respects does not correspond with what Schumann actually wrote down. For the first time, the Henle Urtext edition draws upon all the available primary sources, and thus is effectively the onlyreliable Urtext edition of a work that in recent years has been heard with increasing frequency.

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

When Haydn stopped in Passau on his second journey to England, he heard a vocal version of his own orchestral work The Seven Last Words. It had been made by the Kapellmeister at Passau cathedral Joseph Friebert and Haydn was quite impressed ? except: "I believe I could have done the voice parts better". He acquired a copy and set about making his own vocal version, taking over most of the text. Haydn particularly liked his own vocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.

Franz Schubert: The Shepherd on the Rock (Henle Urtext Edition)

For Voice, Clarinet and Piano, in the original key. With separate sheets for all parts.

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

Niccolo Paganini: 60 Variations on Barucabà for Violin and Guitar op. 14

Max Reger: Fantasy and Fugue on B-A-C-H op. 46

“For me, Sebastian Bach is the be-all and end-all of music; true progress lies and resides in him alone.” It was with these programmatic words that Max Reger prefaced his answer to a survey “What does Johann Sebastian Bach mean to me, and what is his significance for our time?”, posed by the editors of a magazine in 1905. Reger had already proven his adoration of Bach with his magnificent homage to the composer, written and published in 1900 and probably the best-known of his works for Organ. It is an established work in the concert repertoire of well-known virtuosi, but is also increasingly being performed by ambitious church musicians. Henle has now published this sea of notes and performance directions in an edition with a particularly clear and readable text.

Franz Liszt: Prelude and Fugue on B-A-C-H for Organ (Urtext)

Liszt komponierte dieses virtuose Werk für die Einweihung der renovierten Orgel im Merseburger Dom. Das Manuskript wurde jedoch erst nach dem Festkonzert fertig, die Erstausgabe erschien um 1859 in Holland. Heute wird das Werk vor allem in seiner zweiten Fassung von 1872 gespielt, die Liszt auf Anregung seines Schülers A. W. Gottschalg erarbeitete. Gottschalg überzeugte den Komponisten, die technischen Anforderungen etwas zu vereinfachen, was den Intentionen des späten Liszt entgegenkam. Unsere Urtextausgabe bringt diese Fassung von 1872; der Anhang enthält darüber hinaus eine Ossia-Version der Takte 130 ?166. Im Textteil werden die Änderungen Liszts gegenüber der ersten Fassung kommentiert.

Wolfgang Amadeus Mozart: 12 Variations on "Ah, vous dirai-je Maman" KV 265 (300e)

Max Reger: Variations and Fugue On A Theme By J.S. Bach Op.81 (Henle Urtext Edition)

The variation cycle and the fugue are genres in which Max Reger developed a special mastery. Thus one can speak of Reger’s unique Bach Variations op. 81 as the culmination of his piano oeuvre, offering everything that is typical and characteristic of Reger’s style. No other piano work by this great Bach admirer can measure up to this monumental composition in terms of sheer size and inner weight. Written in Munich in 1904, the Variations are considered challenging to play and difficult to comprehend, but aspiring pianists should not let themselves be deterred by this legend. Behind the complex notation are a clear structure and a wealth of expression. Technical complexity andaesthetics here correlate in an almost classical manner.

Frederic Chopin: Mazurken - Kritischer Bericht

A critical report on Chopin's Mazurka's.

Italian Violin Music Of The Baroque Era Volume 1

Instrumental virtuosity and the new impulses of baroque thought are to be found in the solo sonatas that came into being in Italy from the early decades of the 17th century. Both aspects have been taken into account when selecting pieces for this interesting collected edition of Italian violin music of the baroque era. The first volume concentrates on two groups: on the one hand on Corelli in Rome, Torelli in Bologna and Veracini in Florence, and on the other, on the three famous representatives of the last generation of Italian baroque composers Geminiani, Tartini and Locatelli whose sphere of influence extended from Padua via Amsterdam to England. All the works have beenedited on the basis of the original sources, and therefore provide, in the tried and tested Urtext manner, a clear view of these baroque treasures. The preface gives explanatory notes on performance practice and basso continuo realization, and a list of variant readings rounds off this well-researched Urtext edition.

Wolfgang Amadeus Mozart: Samtliche Sonaten Fur Klavier Und Violine - Critical Report

Critical report on separate sheets in a folder, German language only.

Isaac Albéniz: Three Improvisations 1903

The only surviving original recording of Albéniz' Piano playing is from 1903. On a visit to Ruperto Regordosa Planas he had sat down at the former's Piano and improvised three short pieces. Planas recorded the music on a phonograph cylinder. The pieces were, however, never written down on paper. With the help of modern technical resources, Milton Laufer, an expert on Albéniz, has been able to carefully reconstruct the musical text. This first printing of the transcription thus enables us to have a unique "peep through the keyhole" into the workshop of the gifted pianist and composer. As a little extra, we have included this fascinating recording on a CD with the first issue of this printing.

Joseph Haydn: String Quartets Op.20 And Op.33 (Critical Notes)

Critical notes on Joseph Haydn's String Quartets Op.20 And Op.33 as compiled by Georg Leder.

W.A. Mozart: Complete Piano Sonatas (Critical Commentary)

The critical notes on W.A. Mozart's Complete Piano Sonatas as edited and written by Ernst Herttrich. German language.

Antonio Vivaldi: Concerto for Flautino (Recorder/Flute) and Orchestra C major op. 44, 11 RV 443

In his autograph of this concerto Vivaldi writes “Flautino” which does not make it quite clear whether the work is to be played on the f-soprano (sopranino) recorder or on the piccolo transverse flute. Since the latter is obligatory for auditions with orchestra, one often encounters the lively and musically invigorating concerto in the piccolo version.

J. S. Bach: Capriccio Sopra La Lontananza Del Fratro Dilettissimo In B Flat BWV 992

J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece was written and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas of Johann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and includes fingering by Hans-Martin Theopold.