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Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy Piano Music - 18th and 19th Century

Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy Piano Music - 18th and 19th Century

With this Urtext edition compiled by the expert pianist and piano instructor Walter Georgii, the budding pianist is offered a little overview of the variety of classical-romantic piano literature. The selection and organization is chiefly oriented on the beauty, popularity and performability of the pieces. Behind this is the intent to present to the player a kind of colourful spectrum of interesting works ranging from clear across a wide variety of eras, next to the “great” names, one can also make surprising discoveries of lesser known composers. Volume I contains the easier pieces, while only two reach difficulty level 5, most of the others lie between levels 2 and 4.

SEK 245.00
1

Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy PianoMusic - 18th and 19th Century, Volume II

Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy PianoMusic - 18th and 19th Century, Volume II

With this Urtext edition compiled by the expert pianist and piano instructor Walter Georgii, the budding pianist is offered a little overview of the variety of classical-romantic piano literature. The selection and organization is chiefly oriented on the beauty, popularity and performability of the pieces. Behind this is the intent to present to the player, in a way, a colourful spectrum of interesting works ranging clear across the largest variety of eras, Next to the “great” names, one can also make surprising discoveries of less well-known composers. Volume II contains the technically more demanding pieces which lie between difficulty levels 3 and 5.

SEK 261.00
1

24 Preparatory Exercises Op. 37

24 Preparatory Exercises Op. 37

Dont, Kreutzer, Rode: three of the most prominent Violin pedagogues of the nineteenth century are united here in one volume. At the outset of the nineteenth century, Rodolphe Kreutzer and Pierre Rode each composed epochal collections of studies (see HN 1177 and HN 1186); in 1852, as an introduction to these two standard works, Jakob Dont wrote his exceptionally helpful 24 Preparatory Exercises op. 37, which even today no student of the Violin can avoid. Their success is also evident from the fact that numerous revised editions were published in the twentieth century by violinists such as Hans Sitt, Carl Flesch, or Ivan Galamian. Now for the first time, G. Henle Publishers’Urtext edition restores access to the unadulterated original with Dont’s authentic fingering and bowing suggestions, in an outstandingly legible musical text. The prominent Violin pedagogue Paul Roczak acted as a consultant for this edition and carefully supplemented Dont’s original marking.

SEK 218.00
1

Six Recorder Sonatas : Performance score with basso continuo (without figured bass realisation)

Six Recorder Sonatas : Performance score with basso continuo (without figured bass realisation)

At the beginning of the 18th century, the recorder enjoyed great popularity as a solo instrument for amateurs. Among these were also the princesses of the English court, for whose musical entertainment and training Handel’s six recorder sonatas were probably written in 1725/26. Only four of them appeared shortly thereafter in print and thus also reached a broader audience: the other two were first discovered for the recorder in the 20th century. Thanks to their melodic and rhythmic incisiveness, the pieces, whose recorder parts are relatively easily mastered, number among the most beautiful written for this instrument. Owing to wide-ranging bass lines and copious figures, the continuo instrument requires a rather well-versed player.

SEK 144.00
1

Six Recorder Sonatas

Six Recorder Sonatas

At the beginning of the 18th century, the recorder enjoyed great popularity as a solo instrument for amateurs. Among these were also the princesses of the English court, for whose musical entertainment and training Handel’s six recorder sonatas were probably written in 1725/26. Only four of them appeared shortly thereafter in print and thus also reached a broader audience; the other two were first discovered for the recorder in the 20th century. Thanks to their melodic and rhythmic incisiveness, the pieces, whose recorder parts are relatively easily mastered, number among the most beautiful written for this instrument. Owing to wide-ranging bass lines and copious figures, the continuo instrument requires a rather well-versed player. In the score of the Urtext edition, Ullrich Scheideler provides a moderate continuo realisation; the additionally available performance score (HN 1574) with figured basso part offers the advanced musician latitude for his/her own improvisation.

SEK 409.00
1

Sonatinen 3

Sonatinen 3

Through the amiable genre of the “sonatina”, generations of piano pupils have slowly and cautiously approached its “big sister”, the sonata. With the aid of our three-volume selection of sonatinas from two centuries, intermediate piano pupils large and small can undertake an excursion through the development of piano music from the early 18th to the end of the 19th century. This third volume contains eight easy to moderately difficult sonatinas from the romantic period by composers such as Fibich, Heller, Kirchner, Raff and Schumann. A number of 19th-century composers took advantage of the generic term “sonatina” in order to evade the high demands being made on the sonata at thattime. Thus the pupil will need to deal here with works that are longer and more demanding in terms of technique and content than those in volumes I and II. For advanced piano pupils!

SEK 335.00
1

Études et Caprices for Violin solo op. 35

Études et Caprices for Violin solo op. 35

The Viennese Jakob Dont is considered one of the most important Violin pedagogues of the nineteenth century and wrote numerous study pieces that are indispensable classics of the pedagogical literature for the Violin to this day. Among them are, foremost, his 24 “Études et Caprices” op. 35, which were written between 1840 and 1849 but issued in their definitive form by Dont in an overhauled anthology from 1880. This very advanced collection of etudes (conservatory level) was rapidly so successful that innumerable new, mostly heavily reworked editions appeared in the twentieth century from violinists such as Carl Flesch, Max Rostal, or IvanGalamian. Now for the first time, G. Henle Publishers’ Urtext edition restores access to the unadulterated original with Dont’s authentic fingering and bowing suggestions, and in impressive graphic quality with practical fold-out pages. World-class violinist and prominent pedagogue Antje Weithaas acted as a consultant for this edition and carefully supplemented Dont’s original marking.

SEK 229.00
1

Clarinet Concerto B Flat Major

Clarinet Concerto B Flat Major

The composer and violin virtuoso Johann Stamitz not only established the world-famous Mannheim school in the 18th century but is known among clarinettists above all for presumably being the first to present them with a true solo concerto. Even though Stamitz left it at just this one concerto, it has enjoyed great popularity since its rediscovery in the 20th century and has become a standard work in the concert repertoire. Due to its moderate technical demands, it is ideally suited for music students as a “first” solo concerto, and as preparation for the more demanding solo parts of Mozart, Weber and Spohr. The newly prepared piano reduction was undertaken with a view to make it easy to play so that also less experienced piano players can undertake the accompaniment of the soloist; a renowned clarinettist, editor Nicolai Pfeffer also contributes suggestions for the cadenzas the result is an ideal Urtext edition for student recitals and music schools.

SEK 224.00
1

Concerto in B Minor Op. 35 for Violin and Piano

Concerto in B Minor Op. 35 for Violin and Piano

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.

SEK 155.00
1

Orgelstucke

Orgelstucke

Apart from his organ sonatas, Felix Mendelssohn also composed numerous other works for the king of instruments. The present volume focuses on a selection of eight works from Mendelssohn’s maturity, including the three “Preludes and Fugues”, op. 37. This group of works is, without exaggeration, one of the first important organ works of the 19th century, with which Mendelssohn heralded the second era of organ music after the baroque. The editor of this Urtext edition, organ specialist Wolfgang Stockmeier, explains in his extensive preface how Mendelssohn based his polyphonic works for keyboard instruments on Handel’s, rather than on Bach’s, compositional technique.

SEK 425.00
1

6 Sonaten

6 Sonaten

“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 also 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!

SEK 494.00
1

Introduction Et Rondo Capriccioso Op. 28

Introduction Et Rondo Capriccioso Op. 28

This highly virtuosic concert piece, composed in 1863, is one of the works that Saint-Saëns wrote especially for his friend Pablo de Sarasate. The great violin virtuosos of the 19th century delighted their audiences with it -first the dedicatee himself, then later, most notably, Eugène Ysae. It's a kind of fantasy waltz in the Spanish manner, enchanting in its effect, wrote a music critic back in 1876. Today, this work is in the repertoire of all thegreat violinists. The Henle Urtext edition is the first-ever critical edition of this work. The solo part has been annotated by Augustin Hadelich.

SEK 245.00
1

Böhmische Sonaten

Böhmische Sonaten

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.

SEK 393.00
1

Felix Mendelssohn: Lieder Ohne Worte (Urtext Study Score)

Felix Mendelssohn: Lieder Ohne Worte (Urtext Study Score)

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.

SEK 287.00
1

Overture no. 3 for the Opera "Leonore" (1806)

Overture no. 3 for the Opera "Leonore" (1806)

For his only opera Leonore/Fidelio, Beethoven wrote four overtures in total. Chronologically, the so-called Leonore Overture no. 3 is the second of the series and perhaps the most performed of all Beethoven’s overtures. During his own lifetime, it was heard not only in the theatre, but also in concert, thereby establishing with the Coriolan and Egmont overtures the new genre of the concert overture. Recognised around the middle of the nineteenth century as a masterpiece, it went on to become the “declared favourite of all orchestras,” as Beethoven biographer Anton Schindler testifies. It now appears as astudy score based on the musical text of the Beethoven Complete Edition, with its own specially prepared foreword.

SEK 192.00
1

Französische Violinmusik der Barockzeit 2

Französische Violinmusik der Barockzeit 2

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.

SEK 425.00
1

Spring Night From Song Cycle Op. 39 : Arrangement For Piano

Spring Night From Song Cycle Op. 39 : Arrangement For Piano

Robert Schumann's Frühlingsnacht (Spring night) was one of his most popular songs even in the 19th century. Franz Liszt made a piano arrangement of it that in the space of under 70 measures emerges as a veritable concert piece. Itmakes high demands on the pianist's stamina, especially in its triplet chords. But this did not hinder its wide popularity. The first edition was published in 1872 and enjoyed many reprints during Liszt's lifetime. In 1895, thispiece was also republished in a newly engraved edition. With its abundant technical indications, assorted ossias and the incorporation of the text of the poem above the music, Liszt's arrangement makes the highest demands on amusic engraver - a challenge that this Henle Urtext edition is delighted to meet.

SEK 128.00
1

Carmen Fantasy Op. 25

Carmen Fantasy Op. 25

The 19th century was a heyday for arrangements of all kinds. So it was natural that the composer and violin virtuoso Sarasate should turn to this genre to expand his repertoire. He composed numerous fantasies on successful operasof the time, but pride of place undoubtedly belongs to his Carmen Fantasy. For this arrangement, composed in 1881, Sarasate deliberately chose those numbers that most clearly convey the Spanish atmosphere of the opera. Besides aversion for violin and piano, Sarasate also wrote one with orchestral accompaniment. Both have since then delighted audiences and critics alike. This Henle Urtext edition is the first-ever critical edition of the work, and takesthe sources for both versions into account. The solo part has been annotated by Augustin Hadelich.

SEK 266.00
1

Romance in D flat major op. 37

Romance in D flat major op. 37

The Romance for a melodic instrument and Piano was a very popular genre in French salon music of the nineteenth century. Saint-Saëns also wrote several such pieces for Violin, Cello, and Horn. His only Romance for Flute was composed in 1871, shortly after the Société nationale de musique had been founded. It was premiered in this new forum for Piano music and chamber works a year later, too. In spite of its brevity, the piece contains numerous harmonic and melodic refinements, which rapidly made it popular among flautists – both in the original setting with Piano accompaniment as well as in the later orchestral version. The Henle Urtext edition is the firstcritical edition of this piece, which is also very popular with learners of the Flute.

SEK 160.00
1

Sonate C-dur Opus 40 Nr. 1 : für Violoncello und Bass (Klavier)

Sonate C-dur Opus 40 Nr. 1 : für Violoncello und Bass (Klavier)

At the end of the eighteenth century, cellist and composer Jean-Baptiste Bréval wrote not only virtuosic concerti for his instrument, but also easier sonatas and duets that still belong to the core repertoire of pedagogical cello literature. Opening with impressive chords, the Sonata in C-major op. 40 no. 1 also offers beginners the chance to savour beautiful melodies and master smaller shifts in position. The Parisian first edition of 1799 leaves the choice of accompanying instrument open. For this reason, this Urtext edition offers several options: a two-part score from which a second cello may comfortably provide accompaniment during lessons, as well as a moderate setting for piano that may be used in concerts. Rounding off this starter kit for cello literature is a carefully marked solo part.

SEK 192.00
1

Cantatas

Cantatas

Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well! Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well!

SEK 393.00
1

24 Caprices

24 Caprices

Together with Pierre Baillot and Rodolphe Kreutzer, Pierre Rode founded the important Franco-Belgian Violin school at the end of the eighteenth century. Celebrated throughout Europe, this violinist gives impressive testament to his technique with his “24 Caprices en Forme d’Études” in all keys. While concentrating completely on studying technical phenomena, he created valuable compositions that recall Paganini’s pieces of the same name. To this day, the “Caprices” are a milestone in every violinist’s education (conservatory level). For the first time, G. Henle Publishers’ Urtext edition clarifies in detail the matter of the source situation (firstedition and revised edition) and offers the musical text in the “definitive version” with all historical notations. As a Rode specialist of the first order, violinist Friedemann Eichhorn assisted with the preparation of this edition and contributed fingering and bowing suggestions ideal for contemporary Violin instruction.

SEK 261.00
1

Sechs Tänze In Bulgarischem Rhythms

Sechs Tänze In Bulgarischem Rhythms

These six dances form the final culmination of Bartók’s “Mikrokosmos” (HN 1408-1410), that work of the century comprising over 150 pieces. He dedicated this grouping, collected under its own title, to the famous English pianist Harriet Cohen. Inspired, this specialist for contemporary music found in them “a whole world of music” and championed the pieces. Bartók himself added the dances to his concert repertory early on, though initially in a reduced form that omitted the fifth dance, which was not composed until the end of 1939 as one of the last works of the collection. Our practical, standalone Urtext edition of these six dances also featuresan early version of the concluding piece and supplies interesting background details about Bartók’s own recital practice. This edition’s musical text is based on that of the Bartók Complete Edition.

SEK 133.00
1

Symphony No. 9 D minor Op. 125

Symphony No. 9 D minor Op. 125

After the first sketches had been put to paper in 1815, Beethoven only finally put the finishing touches to his last completed symphony in 1824. With its extended finale in which soloists and choir perform, building the bridge to the symphonic cantata with their invocation of fraternity, it marks a caesura in the history of the symphony that echoed long into the nineteenth century. The main theme of the ode “To Joy” by Friedrich Schiller, set to music in the final movement, has become one of the most popular melodies in all of classical music and today serves as the official anthem of Europe. Based on the musical text of the Beethoven Complete Edition and furnished with a newpreface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.

SEK 250.00
1

Thanatopsis op. 4 für Frauenstimme und Klavier : Thanatopsis op. 4 for female voice and pian

Thanatopsis op. 4 für Frauenstimme und Klavier : Thanatopsis op. 4 for female voice and pian

It is a great pleasure to present, with Thanatopsis, maestro Kissin’s opus 4, an expressive setting of the ground-breaking poem from the quill of William Cullen Bryant. Published in in the form known today in 1821, it is an earlyexample of American romantic poetry of the 19th century. Bryant is today reckoned among the group of “Fireside Poets” or “Schoolroom Poets”, names that allude to the places where their poems were usually recited. His poems firstand foremost Thanatopsis (“A Consideration of Death”) as his most famous are rooted in the English tradition, but at the same time show Bryant’s openness to a genuine American language and lifeworld. Evgeny Kissin’s setting is alarge vocal scene intensely informed by recitative, which congenially allows the prevailing mood of the text to resound. Our edition additionally includes German and French translations of the poem and an informative afterwordabout Bryant’s life and work and the genesis of Thanatopsis.

SEK 245.00
1