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32 Variations In C-minor WoO 80

Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.

SEK 155.00

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Piano Sonata G major Hob. XVI

In 1784 Joseph Haydn dedicated three piano sonatas to Princess Marie Esterházy in which the composer surprisingly turned to a two-movement form. This is also the case with the Sonata in G major Hob. XVI:40, which begins with a pastoral idyll in 6/8 time that is effectively complemented by a Presto full of clamorous gaiety. The editor of our Urtext edition, Georg Feder, is considered one of the most important Haydn researchers of his time. The fingerings by piano pedagogue Hans-Martin Theopold are a helpful aid for all those who work on this sonata.

SEK 165.00

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Morceau de Concert f-moll Opus 94

As with Schumann’s "Concert Piece for four Horns" op. 86 (HN 1138) Saint-Saëns’ "Morceau de Concert" was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player HenriChaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players although the"Morceau de Concert" did! From today’s standpoint the popular work with one movement is not overly demanding technically; in addition, Saint-Saëns himself suggested two abridgements to simplify the piece, meaning that even advanced pupils can ventureto play it.

SEK 218.00

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Piano Sonata In F Minor Pp. 14

As is the case with quite a few of his works, there are two versions of Schumann’s opus 14 a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision- the publisher of the first version was, however, delighted- he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition, which now also contains the complete early version, the editor Ernst Herttrich provides detailed information on bothversions in an extensive preface and commentary.?

SEK 441.00

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Auf dem Strom D 943 : Original Key for High Voice

The scoring of Schubert’s Auf dem Strom (On the River) for voice, horn and piano is reminiscent of that of the Hirt auf dem Felsen (Shepherd on the Rock, HN 969) with obligato clarinet. Both pieces were written in 1828 and each one upon a musician’s request – in this case that of the horn player Rudolf Lewy. Schubert gave the first performance of Auf dem Strom with the latter and the tenor Ludwig Tietze on 26 March 1828 in Vienna. It was such a success that it was soon performed again, and the press raved about it being an “indescribable treat for the ears”. This popular work is now available in a handy format for singers, with, of course, parts for horn in E as well as atransposition for horn in F.

SEK 202.00

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Klavierquartett Nr. 2 G-moll : Opus 45

Inspired by the success of his First Piano Quartet, published in 1884, the composer began a second work in this genre only a short time later. The style is considerably more serene and individual than that of the First Piano Quartet, and both the sequence and character of the movements are more reminiscent of Schumann and Brahms. In its Andante, as Fauré later recalled, he unconsciously set to music the memories of the sound of bells in his childhood. Through the comparison with the autograph, Fauré specialist Fabian Kolb was able to correct with this Urtext edition numerous errors of the first edition. As also in the case of the Henle edition of the First Piano Quartet, Pascal Rogé - an authority on French music - was responsible for providing the fingerings in the piano part.

SEK 526.00

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