F.Xiii/57

Sadie Harrison's Gentle for solo Piano. Gentle was premiered by Ian Pace on 20 April 2018 at City University University of London. Duration: c. 4 minutes

Per soprano e pianoforte

Trascrizione di Paul Reich

DANCLA : Etude - SCHRADIECK : Etude - BACH : Musette - RAMEAU : Menuet - BEETHOVEN : Sonatine - DAQUIN : Le coucou - GONZALES : Pour Bruno

Le solfège du jeune pianiste

Johann Sebastian Bach’s three great cycles of suites belong to the fundamental canon of piano literature: the Partitas and the so-called English and French Suites. It is the French Suites that have long been by far the most popular – and this was also the case at the time that they were written. However this also creates problems for an editor preparing an Urtext edition because a vast number of copies of them were made by Bach’s circle of pupils and these contain many presumably authentic variants. In this revised Henle Urtext edition Ullrich Scheideler explains the complicated source situation with exemplary clarity. He lists the more minor source variants in footnotes;where there are major differences both versions of individual movements are printed in full. Our opulent volume is rounded off with an appendix offering alternative and additional pieces. This Henle Urtext edition has been completely revised and also offers new fingerings. It enables pianists and Bach enthusiasts alike to re-discover Bach’s universe for themselves!

ALBENIZ : Rumores de la caleta - BARBER : Nocturne - BEETHOVEN : Bagatelle - BENDA : Presto - BOWEN : Prélude n°6 - CIMAROSA : Sonate n°12 - DEBUSSY : Nocturne - ELLINGTON : Mood Indigo - FRANCK : Adagio - Danse lente - GRANADOS : Danse de la rose - Valse poétique - JANACEK : La Madone de Frydek - JOPLIN : The Easy Winners - LEKEU : Valse oubliée - LISZT : 4 petites pièces pour piano - MARTINU : La Poupée nouvelle - MOZART : Gigue KV 574 - Thème et 2 variations - PROKOFIEV : Gavotte - RACHMANINOV : Polka italienne - SATIE : Le Piccadilly - SCRIABINE : Prélude n°4

Evening Hymn by Bob Chilcott for SAB and Piano. Chilcott has re-scored this serene reflective anthem originally for upper voices for SAB making it accessible to choirs with a limited number of male voices. A rich addition to the Choral Evensong repertory the anthem presents an artful juxtaposition of an original setting of William Fuller's 'Evening Hymn' most famously set by Henry Purcell with the plainsong melody for the Latin hymn 'Te lucis ante terminum' in J. M. Neale's English translation.

Berens Op.70 - Bertini - Beyer - Czerny - Dennée - Garšcia - Gnyesina - Goldston - Gurlitt - Head - Humbert - Hummel - Kabalevski - Köhler Op.190 n°27 - Krasyev - Loeschhorn - Mozart - Müller - Nyikolajev - Peterson - Praetorius - Schmidt - Türk - Vasilyev-Buglai - Wohlfahrt - Yordansky

The basis for the musical text of this study score was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). A detailed commentary rounds off the editions. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions with and without fingerings (HN 14 and HN 1014).?

Remembering Aretha Franklin-As the world mourns the passing of Aretha Franklin we celebrate the enduring legacy of her songs and persona. This powerful medley for the concert stage includes the hits Respect (You Make Me Feel Like) A Natural Woman and Think.

Band II-The variation genre occupied Beethoven his whole artistic life. Collected in the second volume of G. Henle Publishers’ complete edition of Piano variations are compositions from his middle and later Vienna years written between 1799 and 1823. Among them are groundbreaking works such as the two sets of variations on original themes opp. 34 and 35 the Variations in C minor WoO 80 and as the final crown jewel the Diabelli Variations op. 120. The revised musical text of the Urtext edition with an extensive foreword and commentary was prepared on the basis of the subsequent Critical Apparatus of the Beethoven Complete Edition. The fingering suggestions stem fromthe competent hand of Ian Fountain.

Op. 82- Edward Elgar spent the summer of 1918 in the countryside. In August he received reports of the approaching end of the First World War and this good news so inspired him that he was able to finish an initial draft of his great Violin Sonata in barely four weeks. Writing about it in his diary he notated laconically: “Wrote some music”. His wife Alice was more enthusiastic: “E. writing wonderful new music different from anything else of his”. This magnificent music is now available in a Henle Urtext edition by the British violinist and Elgar expert Rupert Marshall-Luck. He has examined and evaluated the many sources according to all the rules of Urtext editing –the sketches drafts autograph fair copies proofs and first edition.

These six dances form the final culmination of Bartók ’s “Mikrokosmos” (HN 1408-1410) that work of the century comprising over 150 pieces. He dedicated this grouping collected under its own title to the famous English pianist Harriet Cohen. Inspired this specialist for contemporary music found in them “a whole world of music” and championed the pieces. Bartók himself added the dances to his concert repertory early on though initially in a reduced form that omitted the fifth dance which was not composed until the end of 1939 as one of the last works of the collection. Our practical standalone Urtext edition of these six dances also featuresan early version of the concluding piece and supplies interesting background details about Bartók ’s own recital practice. This edition’s musical text is based on that of the Bartók Complete Edition.

19th Century Repertoire

3 Voix Egales Avec Accompagnement D'Orgue

hard cover

Ed. Tradizionale - Opera Completa

Testo Cantato In Italiano-Madama Butterfly took wing under turbulent circumstances. The premiere (Milan Teatro alla Scala 17 February 1904) was a disaster; while a second production only months later (Brescia Teatro Grande 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score enough that the result qualifies as a “second version”. Still other changes were to come however as the opera toured in successive productions. The definitive version which is reflected in this edition was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera – and into shaping the fate of theheroine herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope herpathetic pretence in the name of love her miserable demise.