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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 291.00
1

Oboe Concerto in D major

Oboe Concerto in D major

“Oboe Concerto 1945, inspired by an American soldier, (oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer’s involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for awhile, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction! “Oboe Concerto 1945, inspired by an American soldier, (oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer’s involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for awhile, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction!

SEK 323.00
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 414.00
1

Hornkonzert Nr. 1 - Es-dur Opus 11

Hornkonzert Nr. 1 - Es-dur Opus 11

With his first horn concerto, the merely eighteen-year-old Richard Strauss succeeded in producing a captivating masterstroke. To this day, the concerto is beloved throughout the world (not only) by horn players, and together withMozart's masterworks, numbers among the essential pieces in the instrument's repertoire. Peter Damm, former principal horn for the Staatskapelle Dresden and world-class soloist, has not only performed the concerto publicly over170 times himself, but has also presented pivotal research findings and publications on its genesis. Prepared after reviewing all surviving sources, the Urtext edition he has edited may thus been regarded as the edition ofreference. The orchestral score, available in a practical study edition, eliminates innumerable errors from the first edition.

SEK 237.00
1

Harpsichord Concerto no. 1 in d minor BWV 1052

Harpsichord Concerto no. 1 in d minor BWV 1052

Bach’s Harpsichord concerti, extremely popular among pianists, are presumably reworkings of pieces originally written for the Violin. Bach, however, succeeded in transferring the diverse idiosyncrasies of Violin technique to the keyboard with such ingenuity that most of today’s pianists also include these concerti in their standard repertoire. The first concerto in d minor is perhaps the most popular – not least because of its jaunty outer movements and the eminently forceful solo part. Now, as a prelude to a series of all of Bach’s Harpsichord concerti, G. Henle Publishers presents a Piano reduction and study edition(score) of the d-minor concerto. None other than András Schiff, the outstanding Bach expert, has provided fingering suggestions.

SEK 274.00
1

Alexander Zemlinsky: Clarinet Trios D Minor Op. 3 For Piano, Clarinet (Violin) And Violoncello

Alexander Zemlinsky: Clarinet Trios D Minor Op. 3 For Piano, Clarinet (Violin) And Violoncello

Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier, inspired hit, the Trio For Clarinet Op. 3 , written in 1896, owes a great deal to Zemlinsky ’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who, following its first performance in Vienna, enthusiastically recommended the trio to his publisher Simrock. As the autograph has disappeared, Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous, partly blatant engraver’s errors. Alongside the Piano score, Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.

SEK 246.00
1

Johannes Brahms: Clarinet Sonatas Op.120

Johannes Brahms: Clarinet Sonatas Op.120

In the later years of his life, in the 1890s, Johannes Brahms was inspired by the clarinettist Richard Mühlfeld to compose Trio Op.114, Quintet Op.115 and the Sonatas Op.120 – three gems in the Clarinet chamber music repertoire. Brahms also provided a part for Viola as an alternative to the Clarinet. The revision of this Henle Urtext edition of the Viola version of Op.120 is based on the musical text of the New Brahms Complete Edition and in many respects contains significant improvements: the original autograph was consulted for the first time, the newly set Piano score now contains the Viola part, and Viola players can benefit from fingerings and bowings by Tabea Zimmermann in the solo part.

SEK 350.00
1

Arias, Duet, Trio

Arias, Duet, Trio

The works for solo voice(s) and Orchestra assembled in this volume owe their composition to the most diverse occasions. Some were tailor-made for female singers in Beethoven’s milieu, while with others he was dabbling in the field of Italian opera (under the tutelage of none other than Antonio Salieri). Scarcely any of them made it into print during Beethoven’s lifetime. Aside from canonical works of the repertoire such as “Ah! perfido” op. 65, this volume also contains unknown gems like the scene and aria Beethoven revised multiple times, “No, non turbarti” – “Ma tu tremi, o mio tesoro?”. The study score contains the textof the scholarly Complete Edition. Beethoven specialist Ernst Herttrich additionally provides information about the genesis and exciting variants in the transmission history.

SEK 264.00
1

String Quartets Volume II

String Quartets Volume II

After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

SEK 253.00
1

String Quartets Volume II

String Quartets Volume II

After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773, K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

SEK 371.00
1

Serenade for Wind Instruments Op. 7 : In E flat major

Serenade for Wind Instruments Op. 7 : In E flat major

When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously. When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.

SEK 237.00
1

Serenade for Wind Instruments Op. 7 : In E Flat Major

Serenade for Wind Instruments Op. 7 : In E Flat Major

When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously. When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.

SEK 334.00
1