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Maurice Ravel: Gaspard De La Nuit - Henle Urtext

A collection of prose poems by the French Romantic Aloysius Bertrand inspired Ravel to write his piano cycle "Gaspard de la nuit". Unlike earlier works he does not merely create an atmospheric depiction of the literary model - in a fascinating manner he recounts the eerie-grotesque scenes using musical means. His "three romantic poems of transcendental virtuosity" were supposed to surpass the technical refinement of Balakirev?s "Islamey" (HN793), which was considered unplayable at the time. This edition not only offers impeccable Urtext in a clear, larger format: the corresponding poem by Bertrand prefaces each part in three languages.

SEK 271.00

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Wolfgang Amadeus Mozart: "Wunderkind" Sonatas Volume 2 K.10-15

Leopold Mozart was only able to understand his son?s musical genius in terms of it being a God-given wonder: ?That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it?. In 1764 Wolfgang composed six sonatas in London ? possibly after the model of Johann Christian Bach?s ?Opus 2? ? that can either be played as piano trios, as violin sonatas or simply on the piano. ?Royal? sources were consulted for the edition: the copy in the British Library bears the handwritten note: ?This Volume belongs to the Queen 1788?.With marked and unmarked string parts.

SEK 351.00

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Erik Satie: Sonatine Bureaucratique

Although Satie took the classical form as a model for his ?Sonatine?, it is quintessentially an ironic work. The composer, who later in life liked to be seen walking through the streets wearing a stiff collar and bowler hat, included lines of text between the staves that describe the day of a typical Parisian bureaucrat. The bureaucrat sits in a chair with green silk sleeve guards and dreams of being promoted. ?Next door a piano is playing Clementi?? and at this point parodied echoes of Clementi?s popular Sonatine op. 36/1 can actually be heard. Ulrich Krämer provides knowledgeable background information in the preface to our edition that will enable a better understanding of Satie?s work.

SEK 128.00

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Johann Sebastian Bach: Six Sonatas for Violin and Piano (Harpsichord) BWV 1014 - 1019

Bach probably composed his six violin sonatas between 1717 and 1723, during his tenure as court Kapellmeister in Köthen. Apparently he was no longer content with adding the solo part to a bass-line, so wrote the harpsichord part out in full instead. As for compositional technique, his model here was the Baroque trio sonata, but the path to the duo sonata in the modern sense, however, is already traced out. The sonatas were not published until 50 years after Bach’s demise. The transmission of the individual sonatas is sometimes problematic, especially since only little autograph material has survived. In the Appendix to this Urtext volume, we have reproduced various versions ofdifferent pieces.

SEK 621.00

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Robert Schumann: Piano Sonata In G Minor Op.22 (Henle Urtext)

G. Henle Verlag Urtext edition of Schumann's Piano Sonata in G minor."I am endlessly looking forward to the second sonata", thus Clara wrote to Robert in 1838, "Your whole being is so clearly expressed in it." Nonetheless in the same letter she encouraged him to revise the last movement, which provided the composition with a completely new finale. The first two movements were also reworked several times. The editor assiduously provides information on the complicated genesis of the work in this new edition.The musical text is not only followed by the original final movement, which is musically and pianistically very demanding, but also the model for the second movement: Schumann made an arrangement of one of his own songs ("In the autumn") for the Piano.

SEK 308.00

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Robert Schumann: 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 he placed at the beginning of his Opus 3 .

SEK 308.00

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Max Reger: Leaves and Blossoms

From early childhood, Max Reger grew into the tradition of artisanal, practical composition in which Johann Sebastian Bach became his role model. Traditional forms such as canon, fugue, passacaglia and variation gave stable form to his means of expression. But there is also another Reger. In the “Blätter und Blüten” (“Leaves and Blossoms”), whose moods range from the humorous to the melancholic, we find a sentimental, romantic side to Reger that rarely receives attention. The pieces bear titles such as “Spring Song”, “Hunting Piece”, “Moment musical” or “Elegie”. Something of Schumann’s melodic charm, Brahms’s profundity and Grieg’s folk style resonates here. With this Urtextedition, pianists can discover these pieces for themselves. The fingerings are by Helmut Brauss, an expert on Reger’s piano music.

SEK 229.00

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Ludwig Van Beethoven: Quintett Fur Klavier Und Blaser Op. 16

Works for or with wind instruments (then called “Harmonie” in German) were an extraordinarily popular genre in the Viennese Classical era. Beethoven also created a number of works that call for wind instruments, including his Piano Quintet op. 16 in E flat major. It was written in 1796 while Beethoven was on his concert tour to Prague and Berlin. Unmistakable are the parallels with Mozart’s corresponding Quintet K. 452, both in the key and in the sequence of single movements. The grace and serenity that stamp the work recall the model particularly favoured by Beethoven. That he himself had a soft spot in his heart for this work emerges from the fact that he repeatedlyplaced it on the programs of his concerts as a pianist, and also arranged it as a quartet for piano and three stringed instruments.

SEK 425.00

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Ludwig Van Beethoven: String Quartets Op. 18,1-6 And String Quartet Version Of The Piano Sonata, Op. 14,1

When it came to the genre of the string quartet, Beethoven was a relative latecomer. He was already 28 years old when he obtained the contract for the composition of the Quartets opp. 18 from Prince Lobkowitz, and 30 when he completed them. These are mature works that clearly distinguish themselves in their technical demands from, say, those of Mozart’s quartets, yet on the other hand, they orient themselves musically on Mozartian practice. The A major Quartet K. 464 obviously served as a model for Op. 18 no. 5. Be that as it may, Beethoven’s six Quartets op. 18 are completely autonomous works that are on a par with many of the major contributions to this genre. In the1980s, scribal copies in which Beethoven had presented the quartets to his patron Prince Lobkowitz once again became accessible. They represent a stage prior to the final version, having richer dynamics and articulation marks that make them interesting from a performance practice point of view. As the autographs of the Six Quartets op. 18 are no longer extant, these manuscripts assume a singular importance. This Henle Urtext edition is the first to take these manuscripts into consideration.

SEK 372.00

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Ludwig Van Beethoven: Sonate Fur Klavier Und Violine Op. 47

Beethoven wrote ten sonatas for violin and piano during a period of only fifteen years (from 1797 to 1812). It is impressive how in this genre he again pursued the principle of finding a new model for each individual work. In the Sonata in A Major op. 47, which is published here separately for the first time, a new dimension is introduced to the genre right by the cadenza-like opening, by the unaccompanied violin and by the concertante-virtuoso style throughout. On the original title page Beethoven aptly remarked: “scritta in un stilo molto concertante quasi come d’un Concerto” [written in a very concertante style, as if for a concerto]. He dedicated the sonata to the Parisianviolinist Rodolphe Kreutzer, for which reason it is called the “Kreutzer Sonata”. Our meticulous Urtext edition is based on the fragment of the autograph, the German original edition, the English first edition and on an important manuscript copy from the workshop of copyist W. Schlemmer discovered by G. Henle Publishers. This copy, with corrections by Beethoven, served as the engraver’s copy for the original edition. Editor and Beethoven researcher Sieghard Brandenburg was also responsible for this work in the Beethoven Complete Edition. His preface, with important details concerning the edition, rounds off our edition of this masterpiece.

SEK 292.00

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