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Paganini-Studies Op. 3 And Op. 10

Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others, Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit, based very closely on Paganini’s original and following their educational intention. Opus 10, on the other hand, deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution, which heplaced at the beginning of his Opus 3.?

W.A. Mozart: Violin Concerto No.3 In G K.216 (Violin/Piano)

An Urtext edition of W.A. Mozart's Violin Concerto No.3 In G K.216, as edited by Wolf-Dieter Seiffert, with Piano reduction by Siegfried Petrenz, and fingering, bowing, cadenzas and lead-ins by Kurt Guntner.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

Sergei Rachmaninow: Prélude C Sharp Minor Op.3 No.2

Prélude C Sharp Minor Op.3 No.2 is possibly Sergei Rachmaninow 's most famous late romantic Piano work and is now finally available as a Henle Urtext edition. First published in 1892, as part of the Piano cycle 'Morceaux de Fantaisie' Op. 3, the work soon became well known abroad, in particular due to the concert tours given by the pianist Alexander Siloti, Rachmaninow ’s cousin. Even Rachmaninow himself was soon no longer able to perform any concerts in America without someone in the audience crying out 'C sharp minor!' at the end. The thundering chords of the final part of this work are legendary and at the same time not as unplayable as one might have been led to believe.

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.

Haydn-Studien Bd. 3 Heft 3/4 : Haydn Studies Vol.3 No. 3/4

Briefwechsel Band 3 : Briefwechsel Band 3

This complete edition of Beethoven's correspondence has been edited by Sieghard Brandenburg on commission from the Beethoven House in Bonn. It forms a milestone in the study of Beethoven, being the first complete edition in Germanto be compiled and fully annotated in accordance with modern scholarly-critical criteria. The edition includes all of Beethoven's known letters (1,789 items of primary correspondence), all obtainable letters written to him (370items of secondary correspondence) and numerous documents written on Beethoven's behalf by third parties (163 items of tertiary correspondence). It provides the text in a diplomatic transcription critically corroborated againstthe original sources, including deleted passages, addresses and drafts. The texts are presented in chronological order in six volumes and are made readily accessible by a seventh volume containing indices of names, places, works,senders, recipients, and text incipits as well as a list of sources and concordances to other editions of Beethoven's letters.

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!

Haydn-Studien Einb.-Decke 3 : Haydn Studies Cover 3

Lieder 3 Alt

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.

Die Schöpfung, Hob. XXI:2 - Band 3-3 : Third part, Sketches

Ungarische Rhapsodie Nr. 3

Sämtliche Klavierwerke Band 3

To commemorate the 200th anniversary of Robert Schumann’s birth, an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879 93, all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works, comprising six volumes,are now available in paperbound or clothbound editions, as well as a study edition set in a slipcase. Clearly ordered by opus numbers, the complete edition includes not only all of Schumann’spiano works, revised to reflect the latest scholarlyfindings, but also informative commentary texts, alternative versions and many things more. Contents: Symphonische Etüden op. 13- Sonate mit Frühfassung [Concert sans Orchestre] f-moll op. 14- Kinderszenen op. 15- Kreisleriana op. 16

Masses No. 3 - 4

Haydn-Studien Bd. 3 Heft 2 : Haydn Studies Vol. 3 No. 2

Haydn-Studien Band 8 Heft 3 : Haydn Studies Vol. 8 No. 3

Haydn-Studien Bd. 2 Heft 3 : Haydn Studies Vol. 2 No. 3

Haydn-Studien Bd. 6 Heft 3 : Haydn Studies Vol. 6 No. 3

Haydn-Studien Bd. 1 Heft 3 : Haydn Studies Vol. 1 No. 3

Haydn-Studien Bd. 5 Heft 3 : Haydn Studies Vol. 5 No. 3

Haydn-Studien Bd. 3 Heft 1 : Haydn Studies Vol. 3 No. 1

Samtliche Klavierwerke Band 3 (Clothbound)

To commemorate the 200th anniversary of Robert Schumann’s birth, an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879 93, all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works, comprising six volumes,are now available in paperbound or clothbound editions, as well as a study edition set in a slipcase. Clearly ordered by opus numbers, the complete edition includes not only all of Schumann’spiano works, revised to reflect the latest scholarlyfindings, but also informative commentary texts, alternative versions and many things more.Contents: Symphonische Etüden op. 13- Sonate mit Frühfassung [Concert sans Orchestre] f-moll op. 14- Kinderszenen op. 15- Kreisleriana op. 16

Double Bass Concerto op. 3