Sinfonias 1761-1763 With Critical Report Paperback

Lieder Und Gesange Mit Klavierbegleitung

Wissenschaftliche Gesamtausgabe

Klavier Violine und Violoncello

Piano Sonata No. 28 A major op. 101

String Trios Volume 2

Concerto for Piano (Harpsichord) and Orchestra

It was only with his late works that Debussy an unconventional innovator turned back to tradition. In 1915 he had six sonatas for various instruments in mind. He was only to complete three of them before his death in 1918 following a severe illness. The first of these was the Cello Sonata that he composed unusually quickly in 1915. During his summer holiday by the sea in Pourville Debussy worked at great speed. The sonata with an unusual sequence of movements Prologue-Sérénade-Finale was published in that same year. The work belongs to the cellist’s core repertoire.Authoritative urtext edition of Debussy's Sonata For Cello and Piano . Part of the ABRSM Cello Syllabus Grade 8.

According to Ravel himself the strange title of the little Piano piece composed in 1899 “Pavane for a dead princess” should not be ascribed too much importance. He chose it mainly because he liked the alliterationit contained. At the same time he did however agree that the music evokes “a pavane that a little princess once might have danced at the Spanish court”. Following its premiere in 1902 the simple but effective piece gainedunparalleled popularity not least reflected in the numerous arrangements made of it one of which for small orchestra was by Ravel himself. We are publishing the work in its original version as a fitting addition to our worksby Ravel .

English Suites 4-6 BWV 809-811-Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71) “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN9100). Although people might like to think that the English Suites were composed after the French Suites (HN 71) the temperamental and in part virtuoso flow of these Suites is morecharacteristic of the musical language of the young Bach (from our preface). The kaleidoscopic variety of the six English suites is breathtaking. One lifetime is not enough to exhaustively comprehendand penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and lastbut not least in a very good value study edition with the identical musical text (HN 9100).

Suites Sonatas Capriccios Variations-Apart from the major cycles (partitas French and English suites) a whole series of separate keyboard suites by Bach have come down to us including individual sonatas or sonata movements variations and fragments of various sorts called Capriccios. None of them reached the degree of popularity of the aforementioned large collections. Most of them go back to Bach’s youth and student years to wit to the years between 1700 and 1710 and do not yet reach the mastery of the later years. However this is compensated by the enormous joy one derives in playing these works.Henle Urtext Edition

As is the case with quite a few of his works there are two versions of Schumann’s opus 14 – a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision- the publisher of the first version was however delighted- he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition which now also contains the complete early version the editor Ernst Herttrich provides detailed information on bothversions in an extensive preface and commentary.?

über ein Thema von Beethoven-An Urtext edition of Robert Schumann's Exercices - Studies On A Theme By Beethoven as edited by Robert Munster.

Each one of Bach’s six Partitas features seven great single movements predominantly in the sequence: Präludium – Allemande – Courante – Sarabande – [two free dances] – Gigue. These partitas can justifiably be described as Bach’s “ultimate” cycle of suites. As regards the artistic and manual demands it goes far beyond its “English” (HN 100) and “French” (HN 71) siblings that are also frequently played. It is no coincidence that Bach only had these six partitas printed (1731) and what is more as “Opus 1”. An authoritative edition of six Partitas by J.S. Bach no.s BWV 825 - 830 with full editorial history and historical context. Edited by Rudolof Steglich.

The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn elaborated by Haydn and Mozart and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost to Mendelssohn who has always been called a “classical romantic.” His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827 shortly after Beethoven’s late quartets appeared in print works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 waswritten two years later during Mendelssohn’s first tour of England. A textually identical score of the two quartets is published in Henle’s Study Scores series (HN 9270). The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn elaborated by Haydn and Mozart and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost toMendelssohn who has always been called a classical romantic. His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827 shortly after Beethoven's late quartets appeared in print works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 was written two years later during Mendelssohn's first tour of England.A textually identical score of the two quartets is published in Henle's Study Scores series (HN 9270).

Joseph Haydn composed twenty-one string trios for two violins and violoncello of which three have been lost. These chamber music gems which do not turn up very often on concert programs are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition also published by G. Henle Haydn’s eighteen surviving string trios are presented in two practical volumes. The second contains Trios Hob. V:15–21. The Critical Report provides valuable information about the trios’ genesis and sources.

John Field a pupil of Muzio Clementi was in his day a celebrated pianist credited with almost legendary skill. The Irish piano virtuoso and composer is principally known for his “Nocturnes ” a genre later adopted by Chopin yet the four piano sonatas in this volume also deserve the highest respect. Since no autographs of them survive all the important prints issued during Field’s lifetime have been consulted for this Henle Urtext edition. Copies with extensive handwritten annotations by the composer have served as our primary source. Editor Robin Langley’s preface provides information about the sources of the sonatas answers questions concerning rhythmic execution and placesField in the historical context of the piano music of his time making this edition especially valuable. As a student of Clementi Field's piano sonatas are a creation of the classical era. Far from the romantic tones of his Nocturnes the Sonatas were written and first performed in London beforethe composer was influenced by Parisian and later Russian lifestyle.

Johannes Brahms’s Piano Quintet is not only one of the mightiest works in its genre but a climax in his chamber music œuvre. This new volume adopts the definitive text from the New Complete Edition of Brahms’s Works.? Johannes Brahms ’s Piano Quintet is not only one of the mightiest works in its genre but also a climax in his chamber music oeuvre. This new volume adopts the definitive text from the New CompleteEdition of Brahms ’s Works.

und Streichquartettfassung Kaviersonate Opus 14/1-String Quartets op. 18 No. 1-6 and String Quartet-Version of the Piano Sonata op.14/1.

These six piano sonatas were written during the composer’s London years after he had collected much valuable experience in Italy. The so-called “London” Bach devoted himself intensively to the possibilities afforded by the newly-developed “Hammerflügel ” and frequently performed in public on the instrument. His Sonatas opp. 5 and 17 all much esteemed by Mozart have many characteristics of the classical piano sonata. The op. 17 collection was first published in 1774 and was already being reprinted in various countries during the composer’s lifetime. Selected for the ABRSM Harpsichord grade 8 examination.