Trio Op.40

Includes alternative parts for Viola and Cello as well as Piano, Violin and Horn.

Bite : for Bass Flute Solo, Alternative version for C-foot Bass Flute

Fantasiestucke Op.73

These Fantasiestucke or Fantasy Pieces - a title denoting short and expressive pieces without a specified form - were originally written for clarinet and piano; Schumann himself later made arrangements of thiswork for cello and for violin. The piano and clarinet parts are notated in the score of this edition; however the solo, alternative, cello part is also included on a separate insert.

Trois Études de concert : S 144

The Trois Études de concert, which was written at the beginning of Liszt's work as a conductor in Weimar, appeared in three separate books in 1849. The original manuscript, which was lost until recently in the Bibliothèquemusical François-Lang in Royaumont (north of Paris), reveals many details that have been overlooked or not corrected so far. Therefore it served as the main source for the new URTEXT edition presented here. The German and theFrench first editions of 1849 were used as a source of inspiration. The edition contains also Liszt’s short cadenzas to the Etude No. 3 and his alternative version of the Coda, which might also be interesting for theperformancepractice of our time.

The 6 String Quartets Op.64

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.'The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces.Each volume includes:Full Score – included with the parts for the first time – invaluable forperformancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movementsGuidance for Performers – as well as giving historical background to the quartets,the prefaces to each volume contain a treasure trove of information about all aspects of performance practiceCritical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison.Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

Six String Quartets Op.33 Hob.III

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces. Each volume includes: Full Score – included with the parts for the first time – invaluable for performancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movements Guidance for Performers – as well as giving historical background to the quartets, theprefaces to each volume contain a treasure trove of information about all aspects of performance practice Critical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

Six String Quartets Op.20 Hob.III

Introducing his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.' The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces. Each volume includes: Full Score – included with the parts for the first time – invaluable for performancepreparationFold-out Pages – as required in the separate parts, eliminating all page-turns within movements Guidance for Performers – as well as giving historical background to the quartets, theprefaces to each volume contain a treasure trove of information about all aspects of performance practice Critical Commentary – in the extensive Critical Commentary to each volume the most authoritative earlysources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primarysources are also considered, and secondary sources drawn upon where appropriate.

The 6 String Quartets Op.76

Introducting his new player-friendly edition of the Haydn Quartets, Simon Rowland-Jones writes: 'There can be no such thing as a final, perfect version; Haydn left too many questions open.'The new Peters Edition isfounded upon this honest assessment. By heightening our awareness of the questions that remain 'open', this edition liberates the interpretative inspiration of performers as never before. As a result, the new edition is likely tobecome indispensable for all who perform or study these masterpieces.Each volume includes: Full Score - included with the parts for the first time - invaluable forperformancepreparationFold-out Pages - as required in the separate parts, eliminating all page-turns within movements Guidance for Performers - as well as giving historical background to the quartets, the prefaces to eachvolume contain a treasure trove of information about all aspects of performance practice Critical Commentary - in the extensive Critical Commentary to each volume the most authoritative early sources for Haydn's quartetsare carefully evaluated and full details of their variant readings given for comparison. Naturally, the composer's autograph, where extant, assumes pre-eminence, but alternative primary sources are also considered,and secondary sources drawn upon where appropriate. The Publishers and Editors gratefully acknowledge the generous support for editorial research given by the Radcliffe Trust, the Arts and Humanities Research Board, the RoyalCollege of Music and the Royal Northern College of Music.

Violin Sonatas Volume 2

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many ofthe apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As hewrites in the preface, '...the notion that the classical style represents a model of symmetry, balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice, which isbasedprimarily on variety of both content and articulation.' So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilized by a spurious quest for conformity. Naturally allsuch instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure andaccent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary, he believes that 'there is compelling evidence that Mozart's later performances of his works were characterizedby changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend, and as such it is likely to take pride of place in thecollections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296, K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).