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Franz Joseph Haydn: Violin Concerto In G Major (With Piano Reduction)

Violin Concerto In G major is considered to be the earliest of Joseph Haydn ’s Violin concertos and was apparently written before he was taken into the service of the Esterházy family. It was first published a century after the Austrian composer’s death, in 1909, and was little known before. The concerto is lovely and ingratiating to the ear, consisting of 3 movements ( Allegro moderato , Adagio and Allegro ) with a total performance time of under 20 minutes. The unmatched intimacy and loveliness of the uniquely beautiful Adagio and the high spirited final movement with its charming Bagpipe imitation will put players and audiences alike in the best of moods from the outset. This Urtext edition provides you with a clear and accurate representation of the composer's original intentions. The Orchestra part is reduced to a Piano accompaniment and two copies of the Violin score, which is identical to that of the Haydn-Gesamtausgabe, are enclosed as separate inserts. A preface in German, English and French by editor Günter Thomas is included as well.

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.

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.?

Franz Schubert: Songs with Lyrics by Mayrhofer and other Poets

Urtext of the New Schubert Complete Edition in both original key and transposition, edited by Walther Dürr. A coproduction with Bärenreiter-Verlag, Kassel.Contents:Am Grabe Anselmos op. 6,3 D 504Am Strome op. 8,4 D 539An dieNachtigall op. 98,1 D 497Antigone und Oedip op. 6,2 D 542Der Jüngling auf dem Hügel op. 8,1 D 702Der Wanderer op. 65,2 D 649Der zürnenden Diana op. 36,1 D 707Erlafsee op. 8,3 D 586Heliopolis I op. 65,3 D 753Iphigenia op.98,3 D 573Lied eines Schiffers an die Dioskuren op. 65,1 D 360Memmon op. 6,1 D 541Nachtstück op. 36,2 D 672Sehnsucht op. 8,2 D 516Wiegenlied op. 98,2 D 498

Ludwig Van Beethoven: Duet With Two Obligato Eyeglasses For Viola And Violoncello WoO 32 - Urtext Edition

Beethoven probably originally planned a complete string duo with four movements. Aside from the introductory movement, a minuet has also survived that is likewise published here. This single edition, taken from the established volume "String Trios and String Duos" (HN192), will certainly secure many new friends for this original work.

Johannes Brahms: Händel-Variations Op. 24

We know that Brahms took an active interest in Baroque music throughout his life. It can thus hardly be by chance that he chose a theme from one of Handel’s harpsichord suites for his 25 variations. The variations allow for iridescent colours and moods in the style of Beethoven’s characteristic variations. In keeping with the source, however, the work also features allusions to Baroque models embellishments, pedal points and ends in a grandly laid-out fugue with a triumphant build-up. Opus 24 unquestionably deserves its reputation as the composer’s most important variation cycle.

Johann Sebastian Bach: Praludium Und Fuge BWV 846

The first Prelude from volume I of the Well-Tempered Clavier is among the most-played pieces in the piano repertoire. Though it seems easy to play, this is misleading since the performer must build up, and maintain, the musical tension. Only in the closing measures does the tension let up and lead to the more challenging fugue.

Franz Schubert: Songs with Lyrics by Goethe, Schiller and other Poets

Urtext of the New Schubert Complete Edition in both original key and transposition, edited by Walther Dürr. A coproduction with Bärenreiter-Verlag, Kassel.Contents:An Emma op. 58 D 113Auf dem See op. 92 D 543Der Alpenjäger op. 37D 588Der Jüngling am Bache op. 87 D 638Der Musensohn op. 92 D 764Der Pilgrim op. 37 D 794Der Unglückliche op. 87 D 713Des Mädchens Klage op. 58 D 191Geistes-Gruß op. 92 D 142Gesänge aus "Wilhelm Meister" op. 62 D877Gruppe aus dem Tartarus op. 24 D 583Hektors Abschied op. 58 D 312Hoffnung op. 87 D 637Lied der Mignon [Heiß mich nicht reden] op. 62 D 877Lied der Mignon [Nur wer die Sehnsucht kennt] op. 62 D 877Lied der Mignon [Solaßtmich scheinen] op. 62 D 877Mignon und der Harfner [Nur wer die Sehnsucht kennt] op. 62 D 877Schlaflied op. 24 D 527Sehnsucht op. 39 D 636Suleika II op. 31 D 717

Niccolo Paganini: 24 Capricci op. 1 (notated and annotated version)

In the era before Paganini, a brilliant solo cadenza in a sonata or concerto movement for violin was called a “capriccio”. Practice pieces for string instruments were also given this generic name. The merging of the concertante cadenza form with that of the technical etude was one of Nicolò Paganini’s greatest creative achievements. With his op. 1 Capriccios Paganini opened up a new musical dimension in the genre. They seem improvised, overflow with melodic abundance and are of a clear, spirited design. This Urtext edition is based entirely on Paganini’s autograph, since the first edition contains numerous errors and was probably not proofread by the composer. Renato DeBarbieri’s performance instructions in our version evolved during many years of concert experience and an in-depth study of the autograph. With this and the informative preface, the violinist is offered an edition that the work has long deserved.

Franz Joseph Haydn: Different songs with accompaniment of the Piano (with critical report)

Franz Joseph Haydn: Different songs with accompaniment of the Piano (with critical report)

Isaac Albéniz: Asturias

Albéniz? piano music is truly irresistible, in particular because of its dance-like elements and its Spanish atmosphere. Asturias combines these elements in a most sophisticated manner. It first appeared in 1892 as the Prélude to the Chants d?Espagne (HN782), and again in 1901, this time with the title Asturias in the Suite Espagnole (HN783), and the piece soon became one of the composer?s best-loved works. Who isn?t familiar with the mysterious guitar sounds that conjure up a Flamenco scene in Andalusia? The piece has often been arranged, but we are publishing it in the original Urtext version for solo piano ? in an affordable single edition.

Frederic Chopin: Ballades (Study Score)

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. Following the "Préludes", we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Frédéric Chopin: Ballades - Clothbound (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. Following the "Préludes", Henle have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Henle website.

Johann Pachelbel: Canon And Gigue In D (Henle Urtext)

Johann Pachelbel, born in Nuremberg in 1653, a generation before Bach, is one of Southern Germany?s most important post-Reformation organ composers. His compositions were already widely known at the time. The most popular work today is probably the canon with ensuing gigue in D major. The canon - according to the source ?a 3 Violinis con Basso c.? - is built up over an ostinato bass whose two bar fi gure is repeated a total of 28 times. The following short gigue is also in a strict contrapuntal style. It is not known when the work was composed. As with most of his other chamber music works, Pachelbel might have composed it during his time in Thuringia between 1677 and 1695. This pleasing work is also popular with amateur ensembles.

Dvorak: String Quartet In G Major Op 106 Score/Parts

In autumn 1895, after returning from New York once and for all, Dvořák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks he composed a new string quartet in G major. Together with the Quartet in A-flat major op. 105, it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes, while his motivic working shows him to be a master at the height of his powers. Even today, it seems almost as if we can feel the composer’s satisfaction with this work: “I am working so easily and it is going so smoothly that I could not wish it better”.

Robert Schumann: Fairy Tales Op.132

No romantic poetry and no concrete fairytale figure occasioned Schumann to write this composition. Today, we can assume that the title of the pieces, originally entitled "Romances", was merely supposed to conjure up a poetic and fairytale world. Presumably inspired by Mozart?s "Kegelstatt" Trio K. 498, Schumann occupied himself intensively with plans for a work for this distinctive combination of instruments, whose "unique effect" enthused him. Yet almost three years passed before he sent a publisher these works that he had "written with great pleasure". The first edition contained a violin part as an alternative to the clarinet. As this part was authorized by Schumann, it is also included in this Urtext edition.

Franz Joseph Haydn: Works with barytone

Georg Friedrich Händel: Flute Sonatas, Volume I (with separate Flute/Basso Continuo part (two copies))

The Urtext instrumental part of this edition is laid out as a combined flute and bass part (featuring the original basso continuo figures without realisation). This manner of reproduction is oriented on the historical sources. Thus it is possible for an experienced continuo player to improvise a free accompaniment of his own to the sonata. Two copies of this dual part are included in this Henle edition, so that both players, flautist and accompanist, can perform from this combined musical text. In addition to the basso continuo figures, the score offers a historically appropriate basso continuo realisation that can be played at sight. In order to avoid page turns within themovements, the instrumental part is provided with a fold-out panel and a blank page.

Pablo Sarasate: De Spanish Dances (Jost Peter) Violin/Piano

Just like many other violin virtuosos of the 19th century, Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folk music traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness, and are undoubtedly among his most successful compositions. In masterly fashion, Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate’s Zigeunerweisen (HN 573), a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.

Ludwig Van Beethoven: Christus Am Ölberge Op.85 - Study Score

As the new house composer at the Theater an der Wien, Beethoven had an opportunity to perform an oratorio during Passiontide in 1803. In a very short space of time he drew up his one and only work for this genre. It deals with Christ's suffering and prayer in the garden of Gethsemane until he is taken prisoner.Following the première, the publisher of the first edition, who disliked the "operatic" libretto by Franz Xaver Huber, had an unauthorized revision of the texts undertaken. Although Beethoven resisted and demanded that it should be changed back to the original, this new version spread throughout the world.This Urtext edition presents the work with the original libretto that Beethoven set to music and following the text in the Beethoven Complete Edition.

Claude Debussy: Images -1894 (Henle Urtext Edition)

This work only has the title in common with the well-known “ Images ” I and II from 1905 and 1908. Debussy dedicated the three-part cycle to the daughter of a painter friend, writing: “These pieces shy away from brightly lit salons, in which people are usually to be found who do not care for music. They are rather soliloquies of the Piano and the self and it is not forbidden to employ the special mood conjured up by rainy days”. The slow movement – it resurfaces in a slightly altered form as the middle movement of “Pour le Piano” – is associated with the atmosphere in the Louvre and its old paintings. This is Impressionist music of a very special kind.

Claude Debussy: Nocturne

This piece is straightforward in its construction but highly advanced in its harmonies, and links up with the widely popular, 19th-century tradition of the “night piece” or “nocturne” for piano. Its themes and modulations are highly reminiscent of Gabriel Fauré, but in its chromatic voice-leading and unusual treatment of metre – such as in the 7/4 central section – Debussy makes a statement all of his own. Nothing is known about the history of its composition. Debussy’s 1892 contract with his publisher states merely that the composer had originally called it “Interlude”, but then decided upon the far more suitable title of “Nocturne”. One of Debussy’s most popular early piano works, it is now available in a Henle Urtext edition.

Joseph Haydn: Il Ritorno Di Tobia

Written 25 years prior to Haydn's late great oratorios, his first oratorio, telling the Biblical story of young Tobias who is able to cure his blind father with heavenly help, is in the tradition of the Neapolitan oratorio and already displays signs of Haydn's personal style; it is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This work was long-neglected, but this Urtext Study Edition reflects its renewed popularity.

Franz Joseph Haydn: Concertante (with critical report)