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Franz Joseph Haydn: String Quartets Volume II Op.9 (Parts)

Franz Joseph Haydn: String Quartets Volume II Op.9 (Parts)

Six works belong to opus 9 – the first group of Haydn ’s String quartets of which we know. The composer also went new ways as far as form was concerned: whereas he had still adhered to the five movement divertimento in the previous quartets opus 1 and 2, in this case he favoured four movements, something he continued in the future. Apart from this, he also expanded the register and experimented with metric surprises (for instance in the trio of the minuet from the G major quartet).

SEK 568.00
1

Wolfgang Amadeus Mozart: Concerto for Horn and Orchestra no. 4 Eb major K. 495

Wolfgang Amadeus Mozart: Concerto for Horn and Orchestra no. 4 Eb major K. 495

Oddly, Mozart wrote out the score of his most famous Horn Concerto not only in black ink but also in red, green, and blue. Whether he meant this as a genial prank or had higher aspirations in mind will remain an eternal mystery. Whatever the case, Henle‘s Piano reduction takes Mozart at his word and prints the enclosed urtext Horn part in exactly the same colours as are found in the autograph score. Perhaps the multi-coloured publication will inspire Horn players to create new interpretations of this popular concerto.

SEK 367.00
1

Claude Debussy: The Little Negro

Claude Debussy: The Little Negro

Debussy occasionally reacted to musical trends in his compositions, as was the case with American ragtime. Aside from Golliwogg’s Cakewalk, in Children’s Corner (HN 382), The Little Negro is even today a standard piece in modern crossover orientated Piano teaching. Debussy did actually compose the piece for a Piano method, namely that of Théodore Lack, published in 1909. In 1934 the publishing house Leduc produced a single version, in which measures 22 to 54 are repeated, unlike in the first edition. The piece is not particularly difficult and is very effective.

SEK 128.00
1

Johann Sebastian Bach: Flute Sonatas, Volume II (Three Sonatas attributed to J. S. Bach)

Johann Sebastian Bach: Flute Sonatas, Volume II (Three Sonatas attributed to J. S. Bach)

is now possible to add the epithet“previously“ to the formulation of these sonatas as “attributed to Bach” in the title of our Urtext edition, today it is assumed that none of the three sonatas was written by “Father” Bach, but rather by his son Carl Philipp Emanuel. Yet this, too, cannot be completely and unambiguously authenticated, doubts linger. In any case, the issue does not detract from the extraordinary popularity of, for example, the Sonatas in E flat major and g minor, which have stunningly beautiful slow movements. The sonatas are part of the flautist’s daily bread.

SEK 292.00
1

Franz Joseph Haydn: Violoncello Concerto In D Major Hob. VIIb:2

Franz Joseph Haydn: Violoncello Concerto In D Major Hob. VIIb:2

During Joseph Haydn’s lifetime, concertos for solo instruments and ensemble were generally written for a particular musician. In the case of Haydn’s violoncello Concerto in D major Hob.VII:2, this person was Anton Kraft, first cello in the Esterházy ensemble and later one of Vienna’s greatest virtuosi. This composition for a particular occasion has become a masterpiece for the ages, an autograph score by the composer survives, dating from 1783. The services of Haydn specialist Sonja Gerlach have been obtained for this edition of the concerto with piano accompaniment. She enriches the Urtext edition with a detailed preface that also examines the execution of the ornaments andthe cadenzas.

SEK 234.00
1

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.

SEK 404.00
1

Wilhelm Friedemann Bach: Twelve Polonaises

Wilhelm Friedemann Bach: Twelve Polonaises

The polonaise was a fashionable dance form not only in Chopin and Liszt’s time, for Johann Sebastian Bach’s son Wilhelm Friedemann had already brought this Polish national dance to a high-point. His twelve Polonaises were so popular in his time that they survive in numerous manuscripts, meaning that today’s pianists can enjoy these most successful of W. F. Bach’s piano compositions. Colourful and effective, they ascend stepwise through the keys, with a polonaise in the major and one in the minor juxtaposed in each case. The pieces are sensitive and expressive, and Bach is clearly setting off along the path to the character piece with these Polonaises. He probably played themon the clavichord, the delicate and favoured instrument of this time of sensibility.

SEK 218.00
1

Franz Liszt: Années De Pèlerinage Deuxième Année - Italie

Franz Liszt: Années De Pèlerinage Deuxième Année - Italie

Between 1837–39 Liszt was travelling through Italy with Marie d’Agoult. As was the case with the first volume of the Années de Pèlerinage, Schweiz (1835/36) he once again recorded his travel impressions in musical form. He devoted himself to subjects from literature (Petrarca, Dante) and the visual arts (Raffael, Michelangelo). Many years later Liszt reworked the pieces, publishing them in 1858 as Années de Pèlerinage, Zweites Jahr, Italien. The central work in this volume is the large-scale so-called Dante Sonata (Après une Lecture de Dante, see also single edition HN 981). The Sonetto 104 del Petrarca (also available as a single edition HN 982) is just as popular. In 1861 Liszt published an appendix to Volume II, Venezia e Napoli, which is also available as a separate edition HN 985.

SEK 265.00
1

Leos Janácek: In The Mists

Leos Janácek: In The Mists

Piano music occupies a small, but nevertheless musically important place in Leos Janácek 's oeuvre. This Henle Urtext Edition of the composer's In The Mists by the seasoned Janácek editor Jirí Zahrádka is an impressive example of this. This small cycle was composed in 1912 and was published for the first time the following year. But as was so often the case, Janácek was prompted to revise it. Following the first performance of the work in Prague by the pianist Stepán Václav in December 1922, the composer and interpreter jointly undertook a revision, which was published in 1924. Henle is now publishing this definitive version in an Urtext edition, which also provides convincing solutions for practical questions, such as how to deal with inconsistent pedal markings by Václav and Janácek .

SEK 186.00
1

Robert Schumann: Carnaval Opus 9 (Urtext)

Robert Schumann: Carnaval Opus 9 (Urtext)

Carnaval Op.9 was completed in 1835 and is one of Schumann's most popular and frequently played works for piano. The ?Carnaval? is a masked ball, at which the characters from the commedia dell'arte - Harlequin and Columbine - dance alongside Schumann's friends - Chiarina and Estrella - and more famous names such as Chopin and Paganini. Like so many of Schumann's works its inspiration has a literary source, in this case his favourite writer Jean Paul. These pieces are virtuosic and brilliant, much more than simply a set of character pieces and musical portraits, they also form a work of ingenious orthographies, with skilled variations upon a symbolic and melodic A-S-C-H pattern. This is the Piano Solo Urtext edition, providing an authoritative and accurate version of this work with editorial comments and a detailed background to Schumann?s intentions.

SEK 192.00
1

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations, Beethoven sometimes lets the piano appear alone, and sometimes has it rest. In places the mood is that of a sort of funeral march, and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio”, the later of the two, was a reworking by Beethoven himself of his op. 20 Septet. He provided as also in the case of op. 11 an alternativeviolin part, in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition, which just as back then- makes it doubly valuable.

SEK 520.00
1

Telemann: Methodical Sonatas Volume 2 Flute Or Violin & Piano

Telemann: Methodical Sonatas Volume 2 Flute Or Violin & Piano

“Methodical” was how Telemann’s six sonatas were described when they were published in 1732, because they included a second, ornamented version of the simple melody line of the solo instrument for the slow opening movements and for the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play, and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointed new edition has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score, which also features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as Henle Urtext editions.

SEK 483.00
1

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!

SEK 446.00
1

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!

SEK 218.00
1

J. S. Bach: French Suites BWV 812-817

J. S. Bach: French Suites BWV 812-817

Johann Sebastian Bach composed three great cycles of suites that belong to the fundamental canon of Piano literature: the Partitas and the so-called English and French Suites . It is the French Suites that have long been by far the most popular – and this was also the case at the time that they were written. However, this also creates problems for an editor preparing an Urtext edition, because a vast number of copies of them were made by Bach ’s circle of pupils, and these contain many presumably authentic variants. This Henle Urtext Edition has been edited by Ullrich Scheideler, who explains the complicated source situation with exemplary clarity. He lists the more minor source variants in footnotes; where there are major differences, both versions of individual movements are printed in full. This opulent volume is rounded off with an appendix offering alternative and additional pieces. This Henle Urtext Edition has been completely revised. It enables pianists and Bach enthusiasts alike to re-discover Bach ’s universe for themselves. This edition includes fingering by Michael Schneidt.

SEK 250.00
1

J. S. Bach: French Suites BWV 812-817

J. S. Bach: French Suites BWV 812-817

Johann Sebastian Bach composed three great cycles of suites that belong to the fundamental canon of Piano literature: the Partitas and the so-called English and French Suites . It is the French Suites that have long been by far the most popular – and this was also the case at the time that they were written. However, this also creates problems for an editor preparing an Urtext edition, because a vast number of copies of them were made by Bach ’s circle of pupils, and these contain many presumably authentic variants. This Henle Urtext Edition has been edited by Ullrich Scheideler, who explains the complicated source situation with exemplary clarity. He lists the more minor source variants in footnotes; where there are major differences, both versions of individual movements are printed in full. This opulent volume is rounded off with an appendix offering alternative and additional pieces. This Henle Urtext Edition has been completely revised. It enables pianists and Bach enthusiasts alike to re-discover Bach ’s universe for themselves.

SEK 250.00
1

Franz Schubert: String Quartet A Minor Op. 29 D 804 (Rosamunde)

Franz Schubert: String Quartet A Minor Op. 29 D 804 (Rosamunde)

The quartet in a minor is one of the chamber music works with which Schubert wanted to “pave the way to the great symphony” in spring 1824. At the same time he was paving his way to a wider audience, as the “Rosamunde” Quartet was the first and only string quartet that was not only publicly performed in Schubert’s lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert’s incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 no. 3, in which Schubert later once again took up the beautiful melody.

SEK 234.00
1