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Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Urtext edition study score for Ludwig Van Beethoven 's Coriolan Overture Op.62 . Beethoven 's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Roman hero Coriolanus. This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807, however, the play had long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not – and he thus wrote one of the earliest and to-date best-loved concert overtures in musical history. The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.

SEK 162.00
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 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 : 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 145.00
1

Harpsichord Concerto no. 2 in E major BWV 1053

Harpsichord Concerto no. 2 in E major BWV 1053

It is almost impossible to tell from listening to them that Bach’s extremely popular concerti for harpsichord were probably his own transcriptions of solo concerti which had originally been composed for violin or a woodwind instrument. The outer movements of the second concerto, in E major, probably written around 1738, sparkle with joy, while the expressive melodic lines of the middle movement, the Siciliano in C-sharp minor, transport the listener to the realm of his Passion music. G. Henle Publishers presents this repertoire standard in an Urtext edition with an extensive commentary. The study edition (HN 7381) features the complete orchestral score: the piano reduction (HN 1381) contains the solo part as well as a very playable piano reduction of the score prepared by Johannes Umbreit for practical use.

SEK 178.00
1

Variationen f-moll (Sonata) Hob. XVII:6 : Variations f minor (Sonata) Hob. XVII:6

Variationen f-moll (Sonata) Hob. XVII:6 : Variations f minor (Sonata) Hob. XVII:6

It was by a roundabout route that the autograph score of Haydn’s most important piano work ended up in the New York Library via a collector. Its four leaves contain a fair copy of the work- two leaves with a sketch-like character follow. Haydn composed the work, at the time still entitled “Sonate”, for “Signora de Ployer” (probably the pianist Barbara Ployer associated with Mozart). The variation movement was apparently intended as the beginning of a sonata with several movements. As can be seen from the second part of the autograph score, Haydn later extended the movement and ended it with an expansive Capriccio Coda. The first print already bears the title “Variations”. Themoving masterpiece has been played all over the world under the title “Variations in f minor” ever since.

SEK 780.00
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

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 194.00
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-minorconcerto. None other than András Schiff, the outstanding Bach expert, has provided fingering suggestions.

SEK 194.00
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

Polonaise In A Flat Op.53 - Henle Urtext

Polonaise In A Flat Op.53 - Henle Urtext

Along with the beautiful facsimile edition of the autograph score to be published on the occasion of the 200th anniversary of Frédéric Chopin’s birth (HN 3221), we are also publishing a completely revised Urtext edition of this popular work. Norbert Müllemann, to whom we are already indebted for the revisions of the “Préludes” and “Ballades”, closely examined the musical text using the currently available sources and provided an informative preface and added footnotes to the musical text which contain possible performance alternatives. The Polonaise, also known as the “Heroic” due to its proudly pacing theme, is amongst Chopin’s most forceful bravura pieces, in particular onaccount of its breakneck ostinato octaves in the middle section.?

SEK 151.00
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