Vores kunder ligger øverst på Google

Google Ads Specialister fra Vestjylland

Vi er 100% dedikerede til Google Annoncering – Vi har mange års erfaring med Google Ads og den bruger vi på at opsætte, optimere & vedligeholde vores fantastiske kunders konti.

100% Specialiseret i Google Ads
Vi har mange års erfaring fra +300 konti
Ingen lange bindinger & evighedskontrakter
Jævnlig opfølgning med hver enkelt kunde
Vi tager din virksomhed seriøst
KONTAKT OS
LÆS UDTALELSER & SUCCESHISTORIER

20 resultat (0,22108 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Nollställ filter

Produkter
Från
Butiker

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

Das Wohltemperierte Klavier Teil 2 BWV 8870-893 : Well-Tempered Clavier II without fingering

Das Wohltemperierte Klavier Teil 2 BWV 8870-893 : Well-Tempered Clavier II without fingering

The basis for the musical text of this edition without fingerings was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions with fingerings (HN 16) and as study editions without fingerings (HN 9016).?

SEK 319.00
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

Rhapsodie espagnole

Rhapsodie espagnole

Liszt’s Piano rhapsodies stand in the tradition of his transcriptions of operatic or song melodies, yet employ folk dances and songs as their source material. Completed in 1864, Rhapsodie Espagnole is a late reminiscence of Liszt’s extended travels to Spain and Portugal in 1844–45. On the basis of two popular Iberian dance tunes, Folia and Jota, Liszt here sets off fireworks of representative rhythms and tone colours with a highly virtuosic presto finale. The long inaccessible autograph manuscript of the composition is now accessible once more – an occasion for G. Henle Publishers to revise its Urtext edition.

SEK 208.00
1

6 Sonaten

6 Sonaten

“Gallant” and “sensitive” by no means implies boring and old-fashioned. Proof of this is given by Franz (František) Benda, the Bohemian Paganini of the 18th Century. Not only was his life extremely colourful and successful, but also his musical compositions that were primarily for the violin. They are great examples of his compositional ability and mastery of the violin. Our highly praised Urtext edition with six selected sonatas from the master’s different creative periods including four first publications will provide a rich experience for all those violinists who are prepared to step off the usual beaten track. Your efforts will be rewarded!

SEK 494.00
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

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

60 Variations on Barucabà

60 Variations on Barucabà

Nicolò Paganini numbers among the few musicians who attained fame by playing and writing for only a single instrument. His works for violin solo are unique, and his appearances as virtuoso fascinated audiences from the very beginning. Yet, in addition to the violin, Paganini also learned to play the guitar as a child. And before travelling throughout the world he must have got to know the Genoese song “Barucaba” in his hometown of Genoa, writing his op. 14 Variations for violin and guitar upon this song in 1835. We were able to engage musicologist Alberto Cantù and violinist Renato De Barbieri as editors of our Urtext edition of this chamber music work. Barbieri’s helpfulfingerings in the violin part round off the edition.

SEK 292.00
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

Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Urtext edition study score for Ludwig Van Beethoven 's Coriolan Overture Op.62 . Beethoven 's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Roman hero Coriolanus. This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807, however, the play had long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not – and he thus wrote one of the earliest and to-date best-loved concert overtures in musical history. The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.

SEK 160.00
1

Frédéric Chopin: Scherzo In B Minor Op. 20

Frédéric Chopin: Scherzo In B Minor Op. 20

The Scherzo In B Minor , one of Chopin ’s most radical compositions, leaves very few listeners untouched. The main part, which is wild and full of brutal dissonances, frames an intimate Trio in which Chopin transcribes a Polish song for the Piano with a magic touch. According to legend, the work was composed at the end of 1830 in Vienna, when Chopin had just left his homeland for good. The November uprising had broken out in Warsaw, and the composer alternated between wanting to revolt against fate and feeling inconsolably homesick. The revised edition of the Scherzo In B Minor is available as a single edition in Henle Urtext for the first time – the Scherzi 2–4 are to follow, finally rounded off by the revised complete volume.

SEK 155.00
1

Sonate C-dur Opus 40 Nr. 1 : für Violoncello und Bass (Klavier)

Sonate C-dur Opus 40 Nr. 1 : für Violoncello und Bass (Klavier)

At the end of the eighteenth century, cellist and composer Jean-Baptiste Bréval wrote not only virtuosic concerti for his instrument, but also easier sonatas and duets that still belong to the core repertoire of pedagogical cello literature. Opening with impressive chords, the Sonata in C-major op. 40 no. 1 also offers beginners the chance to savour beautiful melodies and master smaller shifts in position. The Parisian first edition of 1799 leaves the choice of accompanying instrument open. For this reason, this Urtext edition offers several options: a two-part score from which a second cello may comfortably provide accompaniment during lessons, as well as a moderate setting for piano that may be used in concerts. Rounding off this starter kit for cello literature is a carefully marked solo part.

SEK 192.00
1

Robert Schumann: Myrthen Op. 25, Song Cycle

Robert Schumann: Myrthen Op. 25, Song Cycle

1840 was Robert Schumann ’s famous “year of song” that brought forth over 100 lieder. They included Myrthen op. 25 , which he dedicated “to his dear bride”, Clara Wieck-Schumann. Besides famous songs such as “Widmung”, “Lotosblume” and “Nussbaum” to texts by German poets, the collection also saw Schumann venture further afield, whether to the Scottish Highlands with settings of Robert Burns or to Italy for the “Venetian Songs” of Thomas Moore. Schumann specialist Kazuko Ozawa has examined the first edition of 1840 and all the manuscript sources. Among the dedicatory autograph copies she has also discovered interesting early versions of individual songs that are here published in an appendix. Our Urtext edition is rounded off with an extensive history of how Myrthen was composed. This volume is a superlative addition to G. Henle Verlag’s series of Robert Schumann ’s song cycles.

SEK 292.00
1

Samtliche Lieder Band II

Samtliche Lieder Band II

Beethoven’s importance as the creator of monumental orchestral works and of substantial chamber music and solo sonatas is so great that his rich song oeuvre is often hardly even noticed. But his Lieder offer a highly entertaining repertoire in which love songs and humorous songs alternate with serious pieces of philosophical or religious subject matter. Goethe, Claudius, Herder, Lessing, Gellert and Rousseau are among the authors whose poems he set. In this way, we are offered a panorama of the waning 18th and incipient 19th centuries with a specific blend of feeling for nature, Enlightenment thought and religious sensibility. This Henle Urtext edition in two volumes, which isbased on the Beethoven Complete Edition, also contains those songs which were rediscovered long after Beethoven’s death and were therefore hardly known for a long time. A detailed preface on the history and source situation of Beethoven’s art songs rounds off this edition.

SEK 457.00
1

Quartet movement in D minor D 703

Quartet movement in D minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

SEK 208.00
1

Quartet Movement in C Minor D 703

Quartet Movement in C Minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

SEK 128.00
1

Klaviertrio Nr. 1 d-moll Opus 49 : Piano Trio no. 1 in d minor op. 49

Klaviertrio Nr. 1 d-moll Opus 49 : Piano Trio no. 1 in d minor op. 49

Mendelssohn is considered a self-critical composer, who repeatedly reworked a number of his pieces until he deemed them worthy to be published. The path to his first Piano Trio was particularly rocky: only after several attemptswas he able to complete it in the summer of 1839: it appeared in 1840 after further revisions. This perfectionism paid off, for Mendelssohn’s d minor Trio was immediately received with enthusiasm. Robert Schumann wrote: “It is themaster trio of the present day, like those of Beethoven in Bb and D and that of Franz Schubert in Eb were in their time: a very beautiful composition which after years will still delight grandchildren and great-grandchildren.”Which was to prove true: even today, it numbers among the most popular works in the trio repertoire in general. The trio, taken from the volume Mendelssohn · Piano Trios HN 957, is now available from Henle for the first time alsoas a practical single edition.

SEK 377.00
1