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Erik Satie: Gymnopédies (Henle Urtext Edition)

Erik Satie: Gymnopédies (Henle Urtext Edition)

Headstrong and eccentric, Satie consciously distanced himself from the Romantic traditions of the nineteenth century. His three miniatures for piano "Gymnopédies" are the first testimony to his idea of a "New Simplicity": repetitive, steady rhythms that are reminiscent of ancient cult dances have their very own meditative charm. Satie?s principle of stringing together musical units rather than forcing them to develop later proved groundbreaking for many musical movements of the twentieth century. Satie would certainly have appreciated the balanced print image of Henle's Urtext edition, as he took pleasure in the visual design of his musical scores.?

DKK 82.00
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Johannes Brahms: Symphonies Nos. 1 and 2 - Piano Four-hands

Johannes Brahms: Symphonies Nos. 1 and 2 - Piano Four-hands

In the 19th century, arrangements for Piano four-hands were usually versions which people played at home if the works could not be heard in concert. In cases such as these Brahms did not, however, just make functional versions but creatively transcribed his works for the piano. As the composer he allowed himself greater freedom than arrangers for publishers did. In this form his arrangements greatly contributed to the success of his works in musical life in the 19th century. It is on account of their creativity that Brahms? arrangements have attracted new interest in musical circles over the last few decades. This Urtext edition of the Symphonies nos. 1 and 2 for piano four hands offers a scholarly musical text following the recently published volume in the Brahms Complete Edition.

DKK 562.00
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Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron, and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival and departure of the musicians on that occasion – it shares the same date of composition as the Divertimento, is in the same key, and is scored for the same instruments. Mozart later returned several times to this “First Lodron night music”, and posterity appreciated it too: the Divertimento was published just a few years after his death, and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition, however, were the two autographs. Here, incidentally, the lowest part is designated “Basso”, which leaves open the question as to whether it was to be played by a cello, a double bass or both – a typical case of “as you like it” in the music of the 18th century!

DKK 358.00
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Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron, and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival and departure of the musicians on that occasion – it shares the same date of composition as the Divertimento, is in the same key, and is scored for the same instruments. Mozart later returned several times to this “First Lodron night music”, and posterity appreciated it too: the Divertimento was published just a few years after his death, and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition, however, were the two autographs. Here, incidentally, the lowest part is designated “Basso”, which leaves open the question as to whether it was to be played by a cello, a double bass or both – a typical case of “as you like it” in the music of the 18th century!

DKK 175.00
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Max Reger: Five Humoresques for Piano op. 20

Max Reger: Five Humoresques for Piano op. 20

Reger ’s “ Five Humoresques “ follow in the footsteps of the nineteenth-century genre inaugurated by Robert Schumann’s “Humoresque“, op. 20. Occasionally Reger gives vent to high-spirited good humour, as when he quotes a hit tune from his own day, “ Du bist verrückt mein Kind “ (“You’re crazy, my child”). The Piano writing is imaginative, brilliantly pianistic, and harmonically rich. Our volume forms yet another addition to our series of Reger ’s piano music.

DKK 167.00
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Edvard Grieg: Sonata For Piano And Violin In C Minor Op.45

Edvard Grieg: Sonata For Piano And Violin In C Minor Op.45

Grieg ’s third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’s renown is its occurrence in Thomas Mann’s novel "Doktor Faustus". The sonata has been growing more popular ever since its first publication, and it is now high time for it to appear in an urtext edition from Henle. A preface and detailed editorial notes provide interesting background material on the work’s source tradition.

DKK 260.00
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Italian Violin Music of the Baroque Era Volume II

Italian Violin Music of the Baroque Era Volume II

Solo sonatas written in Italy in the early decades of the 17th century dazzle with originality, imaginative impulses and instrumental virtuosity aspects that have all been taken into consideration when choosing pieces for this attractive compilation of Italian Baroque violin music. Along with violin sonatas by Italian maestri Arcangelo Corelli, Antonio Vivaldi and Tomasi Albinoni, this volume offers the chance to get to know lesser-known composers of this genre such as Carlo Farina and Michele Mascitti, who introduced Italian violin music to Germany and France. Our Urtext edition glows with a variety of Baroque gems from that era.

DKK 481.00
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W.A. Mozart: Andante KV 616 (Urtext)

W.A. Mozart: Andante KV 616 (Urtext)

Automata of all types, including musical automata, had their moment of fame in the 18th century, in “art cabinets” that exhibited, inter alia, musical clocks equipped with a wind-up cylinder and a bellows mechanism. Clockmakers often invited celebrated composers to write pieces for such a clock. This led to the composition of little works by Carl Philipp Emanuel Bach, Haydn, Mozart and many others. Mozart’s three works for the Flötenuhr K. 594, 608 and the Andante K. 616 are nothing less than pearls of this literature, which also includes the arrangement for piano presented here.

DKK 124.00
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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.

DKK 196.00
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Bohmische Violinsonaten II (Urtext)

Bohmische Violinsonaten II (Urtext)

The names of the composers included here read like a “Who is Who” of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda, J. Stamitz, J. L. Dussek and J. B. Vanhal, in their time names that were known throughout Europe, and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn, Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the Violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colourful bouquet of worthwhile discoveries.

DKK 328.00
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Bohemian Violin Sonatas Volume I

Bohemian Violin Sonatas Volume I

The names of the composers included here read like a ?Who is Who? of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda, J. Stamitz, J. L. Dussek and J. B. Vanhal, in their time names that were known throughout Europe, and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn, Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colourful bouquet of worthwhile discoveries.

DKK 237.00
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Georg Friedrich Händel: Air with Variations From Suite in E major (The Harmonious Blacksmith)

Georg Friedrich Händel: Air with Variations From Suite in E major (The Harmonious Blacksmith)

G. F. Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. In addition to his well-known, large-scale works like the Water Music and Music for the Royal Fireworks , he wrote nearly 200 smaller works for keyboard instruments. The Harmonious Blacksmith is a popular name given to the final movement of Handel's Suite No. 5 in E major for Harpsichord, more properly known as Air and Variations (HWV 430). The work was published in 17620, but the name was added at some point in the 19th century, some 75 years after the composer’s death.

DKK 92.00
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Franz Benda: 6 Sonatas for Violin and Basso Continuo

Franz Benda: 6 Sonatas for Violin and Basso Continuo

’Gallant’ and ‘sensitive’ by no means implies boring and old-fashioned. Proof of this is given by Franz (František) Benda , the Bohemian Paganini of the 18th Century. Not only was his life extremely colourful and successful, but so were his musical compositions that were primarily for the Violin. They are great examples of his compositional ability and mastery of the Violin. Our highly praised Urtext edition with six selected sonatas from the master’s different creative periods – including four first publications – will provide a rich experience for all those violinists who are prepared to step off the usual beaten track. Your efforts will be rewarded!

DKK 299.00
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Felix Mendelssohn: Songs Without Words (Urtext Edtion)

Felix Mendelssohn: Songs Without Words (Urtext Edtion)

When Mendelssohn learned from his publisher Nikolaus Simrock that he was to receive an additional honorarium for a part of his “Lieder ohne Worte”, he effusively thanked him for this gift. However, the gift that Mendelssohn, in his turn, made to posterity with these Songs Without Words could probably not have been foreseen even by him at the time. These “Original Melodies”, “Romanzen” or “Clavierstücke”, which only later gained the title “Lieder ohne Worte”, enjoyed great success during the composer’s lifetime, and should be included amongst the most rewarding pieces of 19th-century piano literature. Our volume contains the complete “Lieder ohne Worte” published during hislifetime and posthumously.

DKK 558.00
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Muzio Clementi: Piano Sonata "Didone abbandonata", Scena Tragica g minor op. 50,3

Muzio Clementi: Piano Sonata "Didone abbandonata", Scena Tragica g minor op. 50,3

One of the most eminent pianists of his time who even engaged in a contest with Mozart and did not lose Muzio Clementi created fundamental pedagogical works for piano and altogether 63 sonatas for piano solo. Didone abbandonata dates from his last compositional opus for solo piano sonatas written in 1821. The topic of Dido, who was abandoned by Aeneas and expressed her grief through mourning, despair and, ultimately, raving madness, was extremely popular and subjected to countless arrangements since the 17th century in operas, single “scena” and many instrumental works. The performance instructions for the sonata are as numerous as they are uncommon, andsymbolize Dido’s hyper-expressiveness.

DKK 167.00
1

Johannes Brahms: 51 Exercises For Piano

Johannes Brahms: 51 Exercises For Piano

Teaching the Piano was an important source of income for Brahms, as it was for many nineteenth-century composers. This gave rise to collections of exercises which at first he only occasionally wrote down, but later shared with other pianists (e. g. Clara Schumann). It was only after he had largely given up this educational and pianistic activity that he considered publishing them. In order to reflect their level, he suggested "all kinds of instruments of torture, from the thumb screw to the iron maiden" for the title page. We are now publishing this collection, which is essential for Romantic Piano playing, as an Urtext edition, following the musical text of the New Brahms Complete Edition.

DKK 273.00
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Ludwig Van Beethoven: Symphony No. 4 In B Flat Op. 60

Ludwig Van Beethoven: Symphony No. 4 In B Flat Op. 60

Beethoven 's Symphony No. 4 In B Flat Op. 60 was composed in 1806, a very productive year for the composer during which he wrote numerous other great works – such as the 4th Piano Concerto and the Violin Concerto. Today, this work is unjustly overshadowed by its famous neighbours, the “Eroica” and the 5th Symphony, although it was one of Beethoven ’s best-loved and most often performed works throughout the 19th century. The Henle Urtext edition features a preface by the editor Bathia Churgin. This edition is based on the musical text of the Beethoven Complete Edition and continues the series of study editions of Beethoven symphonies in a convenient format.

DKK 154.00
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Edvard Grieg: Ballade op. 24

Edvard Grieg: Ballade op. 24

An ancient melody, probably from the 16th century, is the basis for Grieg’s op. 24. This “Ballade in Variation Form” was written in winter and spring 1875/76, in the months following his parents’ deaths. It is often interpreted as an attempt to surmount this difficult period, something most impressively audible in the chromatically-descending bass-line that permeates the piece. The Ballade is considered to be Grieg’s most important piece for piano and is most certainly his most personal composition, even though he himself never performed it in public. The fingering newly prepared for this Urtext edition helps to open up the dense piano writing with its pedal-points and polyphonicstructures.

DKK 175.00
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J.S. Bach: Sechs Sonaten Und Partiten - Violine Solo

J.S. Bach: Sechs Sonaten Und Partiten - Violine Solo

J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. His Sechs Sonaten Und Partiten (BWV 1001-1006) were written before 1720, but not published until 1802, and only gained popularity towards the end of the 19th century. They are now regarded as the seminal work in the solo Violin repertoire, and were among the first works to showcase the technical abilities of the Violin. The Suite consists of 3 Sonatas , each with four movements in the traditional slow-fast-slow-fast pattern, and 3 Partias , which vary with four to seven dance-like movements. Contains two volumes, with and without fingering.

DKK 281.00
1

Franzosische Violinmusik Der Barockzeit

Franzosische Violinmusik Der Barockzeit

Two lots of seven violin sonatas from the heyday of the 18th century French Violin School: Whoever plays these sonatas (with basso continuo), will go on a voyage of discovery to a musical continent that is today mainly visited by specialists. But it is worth it! All of these sonatas appeared in much sought after publications of the time and were played across Europe. The editor of both of these Urtext editions, Gisela Meyn-Beckmann, is a renowned connoisseur of the repertoire and has ensured that there is a great deal of variety. The artistic consultant and violinist Erno Sebéstyen, who provided the fingerings and bowings for the solo part, provides valuable, individualsuggestions for performing them.

DKK 341.00
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Paul Dukas: Villanelle

Paul Dukas: Villanelle

Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title, referencing a cheerful traditional vocal genre that originated in 16th century Italy, already shows that it is by no means a dry etude.Alongside the technical challenges (stopped notes, fast scales, playing without valves using natural horn techniques), the piece is successful because of its refreshing melodies, for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn and piano: the later version with orchestral accompaniment does not stem from the composer.

DKK 184.00
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Antonín Dvorák: Romantic Pieces for Piano and Violin op. 75

Antonín Dvorák: Romantic Pieces for Piano and Violin op. 75

Anton n Dvorák’s chamber music output comprises over forty works. That he became known so quickly beyond the borders of Bohemia was due not least to the many discerning music aficionados who enjoyed playing his works. In the 19th century, domestic music-making was everywhere, and Dvorák’s Romantic Pieces for violin and piano op. 75 were also intended for music-making in private circles. Dvorák’s autograph has served as the basis of our Urtext edition of op. 75. Its preface provides many details concerning the genesis of the work, which was originally conceived as a string trio. We were able to engage Dvorák specialist Milan Posp sil as editor of this edition.

DKK 154.00
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Pablo Sarasate: De Spanish Dances (Jost Peter) Violin/Piano

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.

DKK 324.00
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Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

For Henle's Urtext edition of the Clarinet Sonata op. 167, they were able to consult the autograph for the first time. "At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunity to be heard", Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe, one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection are concerned, the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour, wit and fine irony characterise these works for wind.

DKK 201.00
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