30 resultat (0,18036 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Nollställ filter

Produkter
Från
Butiker

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 144.00
1

Vocal Works with Orchestra

Vocal Works with Orchestra

G. Henle Publishers bundles all of Beethoven’s vocal works with orchestra in one complete package that will make the hearts of singers beat faster. From the two masses and Beethoven’s only oratorio, to his popular Choral Fantasy and setting of Goethe’s “Meeres Stille und Glückliche Fahrt”, to “Ah perfido!” and other solo arias, this slipcase provides an opportunity to study the entire range of Beethoven’s vocal art – at the highest level of quality of course. All of the study editions are based on the text from the Beethoven Complete Edition with footnotes that refer to interesting questions about the edition and performance. In concise prefaces, the editors give insight intothe current state of research regarding genesis and performance history. G. Henle Publishers bundles all of Beethoven’s vocal works with orchestra in one complete package that will make the hearts of singers beat faster. From the two masses and Beethoven’s only oratorio, to his popular Choral Fantasy and setting of Goethe’s “Meeres Stille und Glückliche Fahrt”, to “Ah perfido!” and other solo arias, this slipcase provides an opportunity to study the entire range of Beethoven’s vocal art – at the highest level of quality of course. All of the study editions are based on the text from the Beethoven Complete Edition with footnotes that refer to interesting questions about the edition and performance. In concise prefaces, the editors give insight intothe current state of research regarding genesis and performance history.

SEK 1300.00
1

Variationen Op. 27

Variationen Op. 27

Following Alban Berg, Anton Webern is the second composer of the Second Viennese School to be included in the Henle catalogue. Webern’s music is known for its extreme brevity and strict organisation. A performance of the Variations op. 27 lasts evenshorter than ten minutes a short period of time during which the audience experiences true extremes. Webern rehearsed the piece with several pianists, which resulted in surprisingly emotional aids to interpretation being handed down. Havingconsulted all of the available sources, editor Ullrich Scheideler now presents the reviewed musical text and furthermore documents the work’s complex genesis and Webern’s insightful instructions regarding its performance. A classic of modern music,now also available in Henle blue.

SEK 229.00
1

Horn Concerto No. 2 in E flat major

Horn Concerto No. 2 in E flat major

As if looking back on his youth toward the end of his life, Richard Strauss wrote a second concerto for horn and orchestra, again in Eb major, around sixty years after his first concerto for horn. This sublimely beautiful late work, which gives no indication of the oppressive circumstances of Strauss’ poor health and the Second World War, was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss’ death that the concerto appeared in print in London, making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor, Hans Pizka, former principal horn of the BavarianState Opera in Munich, learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances, the especially playable piano reduction by Johannes Umbreit is a great help. As if looking back on his youth toward the end of his life, Richard Strauss wrote a second concerto for horn and orchestra, again in Eb major, around sixty years after his first concerto for horn. This sublimely beautiful late work, which gives no indication of the oppressive circumstances of Strauss’ poor health and the Second World War, was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss’ death that the concerto appeared in print in London, making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor, Hans Pizka, former principal horn of the BavarianState Opera in Munich, learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances, the especially playable piano reduction by Johannes Umbreit is a great help.

SEK 308.00
1

Kinsky/Halm - Das Werk Beethovens : The Works of Beethoven

Kinsky/Halm - Das Werk Beethovens : The Works of Beethoven

Since its publication in 1955, the Kinsky-Halm as it is known in musical circles, has been an integral part of any scholarly research into Ludwig van Beethoven's works. Yet it serves many other groups and is used by musicians,music scholars, those interested in music, antiquarian booksellers, librarians and authors of programme notes and booklets. The compendium gives information on every composition, including the genesis and performance history, thesources and relevant literature. Numerous musical examples aid the identification of the works.

SEK 844.00
1

1 X 1905

1 X 1905

The composition “1.X.1905,” generally referred to as a “sonata,” stems from the autumn of 1905, the peak of the riots between the Czech- and German-speaking populations in Janá ek’s hometown Brno. Reacting to the violent death of a Czech worker, Janá ek wrote a three-part composition for Piano originally bearing the title “From the Street, on October 1, 1905.” Dissatisfied with the work, however, Janá ek is said to have first burned the third movement in his fireplace and then thrown the remaining two movements into the Vltava, even before its premiere. A copy of these first two movements on which thepublication of the first edition was later based is also missing today. For this reason, the Urtext edition of G. Henle Publishers and Universal Edition is based solely on the first edition from 1924, which Janá ek expert Ji í Zahrádka has carefully evaluated and annotated for this volume.

SEK 197.00
1

Klavierstucke Klaviervariationen : Piano Pieces • Piano Variations

Klavierstucke Klaviervariationen : Piano Pieces • Piano Variations

The works in this volume show the development of keyboard instruments in an exemplary manner: the early works were intended for harpsichord, two of which were for an instrument with the so-called “Viennese bass octave”, which enabled the musician to play chords larger than a hand span with one hand. In our edition, these passages have footnotes with suggestions on how to play them. The pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for piano, as with the “Largo assai” from the “Reiterquartett”. Christine Schornsheim, a specialist in historical performance practice, provided fingerings for this completely revised andextended Urtext edition.?

SEK 441.00
1

Andante in C major for Horn and Piano

Andante in C major for Horn and Piano

In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece. In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece.

SEK 176.00
1

Zapateado

Zapateado

For the elaboration of his eight Spanish Dances (HN 1370), Sarasate employed extant material – folk melodies or songs by well-known composers – which he then blended with his own delightful brand of tonal language. Playera and Zapateado op. 23, which make up nos. 5 and 6 of the third volume of Spanish Dances, were composed in the summer 1879. Zapateado is a breath-taking, highly virtuosic dance in which the violin is able to show off all its technical possibilities. This is why the work also quickly became one of the composer’s most successful performance pieces for himself as violinist. Now offered by Henle as a stand-alone edition, this piece has not lost any of its allureand continues to enjoy great popularity. For the elaboration of his eight Spanish Dances (HN 1370), Sarasate employed extant material – folk melodies or songs by well-known composers – which he then blended with his own delightful brand of tonal language. Playera and Zapateado op. 23, which make up nos. 5 and 6 of the third volume of Spanish Dances, were composed in the summer 1879. Zapateado is a breath-taking, highly virtuosic dance in which the violin is able to show off all its technical possibilities. This is why the work also quickly became one of the composer’s most successful performance pieces for himself as violinist. Now offered by Henle as a stand-alone edition, this piece has not lost any of its allureand continues to enjoy great popularity.

SEK 176.00
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 149.00
1

Arianna A Naxos - Cantata A Voce Sola

Arianna A Naxos - Cantata A Voce Sola

The famous ancient legend of Princess Ariadne, who is forsaken by her beloved Theseus, is a favourite subject in the history of opera. In his Italian solo cantata “Arianna a Naxos”, probably written in late 1789, Joseph Haydn succeeded in crafting a captivating psychological drama of one of the most deeply hurt women in Greek mythology. In two recitatives and two arias the princess must endure everything from trepidation to wrath, from grief to desperate love in a musically emphatic manner. Our Urtext edition will provide the soprano performing it with the utmost support throughout. A preface with interesting details about the cantata’s genesis and valuable suggestionsfor the performance of the recitatives rounds off this carefully prepared edition.

SEK 192.00
1

Carl Philipp Emanuel Bach: Flute Sonata A Minor Wq. 132

Carl Philipp Emanuel Bach: Flute Sonata A Minor Wq. 132

There are many unanswered questions surrounding Carl Philipp Emanuel Bach 's Flute Sonata A Minor Wq. 132 . For whom was this solo work written? The addressee of the sonata is frequently thought to be King Friedrich II of Prussia, yet Bach would not have made music that was exclusively intended for the king available for all. The intrigue is heightened by the fact that this sonata for Flute solo was published twice in the 1760s. The riddle is not to be solved. Today this three-movement work is one of the solo pieces that all flautists have to have played once – it is truly regal music. This Henle Urtext edition features informed comments on performance practice by the flautist Karl Kaiser.

SEK 165.00
1

Paganini-Studies Op. 3 And Op. 10

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.?

SEK 409.00
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 242.00
1

For Children Volume 1

For Children Volume 1

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

SEK 229.00
1

For Children Volume 2

For Children Volume 2

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

SEK 229.00
1

Overture No. 1 : For the Opera Leonore (1807)

Overture No. 1 : For the Opera Leonore (1807)

Beethoven wrote a total of four overtures for his only opera, “Leonore”/ “Fidelio”. The so-called Leonore Overture no. 1 is third in the series by chronology, having been written in 1806/07 for a performance in Prague that never materialised. For a long while it was erroneously regarded as a predecessor to the Leonore Overture no. 2 that Beethoven discarded, which greatly tarnished its reception. And yet it pays off to take an impartial look at this overture, which is substantially shorter than nos. 2 and 3, since with its more lyrical than dramatic character, it casts a new light on Beethoven’s struggle to find the ideal opening to his stage work. Featuring a new preface, itnow appears as a study edition prepared on the basis of the musical text of the Beethoven Complete Edition. Beethoven wrote a total of four overtures for his only opera, “Leonore”/ “Fidelio”. The so-called Leonore Overture no. 1 is third in the series by chronology, having been written in 1806/07 for a performance in Prague that never materialised. For a long while it was erroneously regarded as a predecessor to the Leonore Overture no. 2 that Beethoven discarded, which greatly tarnished its reception. And yet it pays off to take an impartial look at this overture, which is substantially shorter than nos. 2 and 3, since with its more lyrical than dramatic character, it casts a new light on Beethoven’s struggle to find the ideal opening to his stage work. Featuring a new preface, itnow appears as a study edition prepared on the basis of the musical text of the Beethoven Complete Edition.

SEK 192.00
1

Auf dem Strom D 943 : Original Key for High Voice

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
1

Three Hungarian Folk Tunes

Three Hungarian Folk Tunes

Of the many works Bartók composed on Hungarian and Romanian folk melodies between 1914 and 1918, these three piano pieces occupy a special place. Originally outlined for the collection 15 Hungarian Peasant Songs (Urtext edition HN 1404), the drafts were left untouched for the next twenty years. Not until 1941, when Boosey & Hawkes asked the composer to contribute to an anniversary album for the great pianist Ignaz Paderewski, did Bartók, now settled in the United States, return to these long since notated piano pieces on the folk music of his homeland and thoroughly revise them. Unusually, the first edition issued in 1942 did not include the folk music sources however, they have ofcourse been reproduced in this Urtext edition based on the Bartók Complete Edition. What’s more, Bartók’s own recording of the pieces has been analysed by editor László Somfai, both in his preparation of the text and in Suggestions for Performance. Of the many works Bartók composed on Hungarian and Romanian folk melodies between 1914 and 1918, these three piano pieces occupy a special place. Originally outlined for the collection 15 Hungarian Peasant Songs (Urtext edition HN 1404), the drafts were left untouched for the next twenty years. Not until 1941, when Boosey & Hawkes asked the composer to contribute to an anniversary album for the great pianist Ignaz Paderewski, did Bartók, now settled in the United States, return to these long since notated piano pieces on the folk music of his homeland and thoroughly revise them. Unusually, the first edition issued in 1942 did not include the folk music sources however, they have ofcourse been reproduced in this Urtext edition based on the Bartók Complete Edition. What’s more, Bartók’s own recording of the pieces has been analysed by editor László Somfai, both in his preparation of the text and in Suggestions for Performance.

SEK 117.00
1

Violoncello Sonata F Major Op. 5 No. 1

Violoncello Sonata F Major Op. 5 No. 1

The two Sonatas op. 5 were written in 1796 expressly for the young Beethoven's performance with the cello virtuoso Jean Louis Duport at the Berlin court. That he wasn't eclipsed by the latter was ensured by the extremelyscintillating piano part, with which Beethoven the pianist was able to present himself in the best light. Opening with a slow introduction, the Allegro of the F-major sonata dazzles with its abundance of melodies. The followingRondo weds musical wit with playfulness, guaranteeing the sonata's special popularity to this day. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thusfeatures a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

SEK 165.00
1

Piano Concerto in E flat major K. 482

Piano Concerto in E flat major K. 482

Composed at the end of 1785, Mozart’s Piano Concerto in E-flat major forms a group of three with the two famous concerti in A major K. 488 and in C minor K. 491, which he completed in March of the following year. What they all have in common is Mozart’s inclusion of Clarinets in the Orchestra for the first time. In this he succeeded to particularly impressive effect with the lyrical passages in the slow sections of the E-flat-major concerto, which was well received by the audience at the first performance. Indeed, his father, Leopold, reports in a letter that Mozart “had to repeat” the Andante immediately. G.Henle Publishers is issuing this concerto, undeservedly overshadowed by its famous siblings, in a handy study edition in full score; a Piano reduction is in preparation.

SEK 197.00
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 409.00
1

Robert Schumann: Sonata For Violin And Piano In A Minor Op. 105 (Henle Edition)

Robert Schumann: Sonata For Violin And Piano In A Minor Op. 105 (Henle Edition)

Robert Schumann ’s Sonata For Piano And Violin In A Minor Op. 105 (also known as Violin Sonata No. 1) was written in only a few days, in September 1851. It consists of three movements – 1. Mit leidenschaftlichem Ausdruck (dotted quarter=68), 2. Allegretto (eighth note =96) and 3. Lebhaft (quarter note = 94), with the main theme present in all of them, linking the whole sonata together. The wealth of imagination, energy of sentiment and depth of thought in the sonata was acknowledged by Wasielewski – fellow musician and Schumann ’s first biographer. This publication takes the composer’s personal copy of the score and the separate Violin part as its principal sources, coming as close to the original intentions of Schumann as possible. An editorial preface by Wiltrud Haug-Freienstein is also included in German, English and French. This Sonata is challenging but rewarding for both Piano and Violin. Total performance time is approximately 18 minutes.

SEK 172.00
1

Symphony D major Hob. I:93

Symphony D major Hob. I:93

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (but by no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been wellreceived – no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (but by no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been wellreceived – no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

SEK 202.00
1