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Alborada del gracioso

In his Autobiographical Sketch Ravel looks back and stresses the importance of his Miroirs (51480842), published in 1906, for his harmonic evolution. He said that they had disconcerted even those musicians who had been mostfamiliar with my compositional style up to then. This is particularly true of the fourth piece in the collection, Alborada del gracioso (Morning song of the court jester), with its frequent employment of harsh dissonances. Thisboth technically and musically charming genre scene, full of rousing ideas and rhythms, is one of the French composer's best-known piano pieces today. Henle now issues it in a single Urtext edition.

DKK 107.00

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Kleine frühe Sonaten : Little early Sonatas

The piano sonatas in this volume were presumably written for teaching purposes and probably even before Haydn’s appointment to the court of Prince Esterházy in 1761. The designation “Little early Sonatas” does not stem from Haydn, but rather from the editor of this Urtext edition, the doyen of Haydn philology Georg Feder, who gathered together these short works, which were written for “aficionados”, into a group of sonatas. G. Henle Publishers is now issuing these charming compositions, which are particularly suitable for piano instruction, in a revised edition. It contains not only commentary texts reflecting the current state of research, but also new, inspiring fingerings by nine well-known pianists.

DKK 171.00

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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 The piece thus remained unpublished until 1973.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.

DKK 141.00

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Romance in F major : Romance in F major for Violoncello and Orchestra

Just a few months after completing his Cello Sonata op. 6, Strauss composed another work for this instrument: a Romance for cello and orchestra, which remained unpublished during his lifetime. According to the autograph manuscript, the composition was finished on June 27, 1883, and Strauss also prepared the piano reduction himself. The Romance is regarded as one of Strauss’ most mature youthful works, though it was long overshadowed by the cello sonata, despite several quite successful performances given by the then-famous principal cellist of the Munich Court Orchestra, Hanuš Wihan. Only since the posthumous first edition of 1986 has the music world been rediscoveringthis striking work, which now also appears in a Henle Urtext edition.

DKK 158.00

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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.

DKK 116.00

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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.

DKK 133.00

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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.

DKK 328.00

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