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Georg Philipp Telemann: Methodical Sonatas For Flute Or Violin And Continuo, Volume I

Published in 1728, Telemann ’s sonatas are ‘methodical’ according to the meaning of the word at the time of their publication as in addition to the plain melody line given to the soloist in the first movements they also provide an ornamented variant each time. This is instructive and very enjoyable music for today’s flautists and violinists. Henle’s luxurious new publication offers a solo and basso-continuo part in which the two instrumental lines are aligned for orientation, plus another part that gives only an unrealised (but figured) bass line. The Henle edition also includes a full score with a stylistically appropriate continuo realisation.

SEK 483.00

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Telemann: Methodical Sonatas Volume 2 Flute Or Violin & Piano

“Methodical” was how Telemann’s six sonatas were described when they were published in 1732, because they included a second, ornamented version of the simple melody line of the solo instrument for the slow opening movements and for the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play, and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointed new edition has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score, which also features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as Henle Urtext editions.

SEK 483.00

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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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Felix Mendelssohn: Variations Sérieuses Op. 54

In 1841, at the height of his mastery, Mendelssohn wrote three variation cycles for piano in quick succession. The first of them, the “Variations sérieuses” op 54, should probably be regarded as his most important piano work. It formed part of an anthology of works by renowned composers of the time, proceeds from the sales of which were intended for the erection of a Beethoven monument in Bonn. At that time there was something of a production line of so-called “Variations brillantes” for piano, Mendelssohn gave his seventeen Variations in d minor op. 54 the title “Variations sérieuses” to distance himself from these,. The beautiful main theme has an earnest, poignant characterthat is sustained throughout all the transformations.

SEK 176.00

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Edvard Grieg: Ballade op. 24

An ancient melody, probably from the 16th century, is the basis for Grieg’s op. 24. This “Ballade in Variation Form” was written in winter and spring 1875/76, in the months following his parents’ deaths. It is often interpreted as an attempt to surmount this difficult period, something most impressively audible in the chromatically-descending bass-line that permeates the piece. The Ballade is considered to be Grieg’s most important piece for piano and is most certainly his most personal composition, even though he himself never performed it in public. The fingering newly prepared for this Urtext edition helps to open up the dense piano writing with its pedal-points and polyphonicstructures.

SEK 218.00

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Ludwig Van Beethoven: Piano Sonata No. 2 A Major Op. 2 No. 2

Ludwig van Beethoven ’s three Piano Sonatas Op. 2 were the first works in this genre to which he gave an opus number, thus signalling to the music world the special importance that he assigned to them. He wrote them during his first years in Vienna and, along with his op. 1 Piano trios, they helped to establish his reputation as one of the most significant composers of his time. These three sonatas – all of them small masterpieces – are arranged in ascending order of difficulty and virtuosity. At the heart of this A-major Sonata is the well-known, profound Largo appassionato movement, whose staccato bass line is reminiscent of double bass pizzicati. It stands in stark contrast to the nimble Rondo-Finale, whose theme returns each time with ever more elaborate arabesques. Murray Perahia’s fingerings have been tried and tested over several decades of performing these works, and offer a new approach to these milestones of the Piano repertoire.

SEK 165.00

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Franz Joseph Haydn: Concerto for Piano (Harpsichord) and Orchestra G Hob. XVIII:4

In contrast to Mozart, Haydn was not a keyboard virtuoso. He certainly conducted his orchestral works from the harpsichord, and also performed his own piano sonatas, but any ambition to be a concertizing pianist was foreign to his nature. Thus “only” three piano concertos by Haydn have come down to us. The Concerto for piano and string orchestra Hob. XVIII:4 is full of spirit and the joy of playing. We know neither the occasion for which it was written, nor the year of its composition, the extensive preface to our edition of the playing score, with one string part each, discusses this in detail. As in the sources of the time, the solo part here also includes the bass line (withfigures) for tutti sections. Axel Ruoff makes suggestions for the solo cadenzas required in movements 1 and 2, Haydn composed the cadenza for the concluding Rondo movement. This Urtext edition is based on the musical text of the Haydn Complete Edition, which is likewise published by G. Henle Publishers. The trade press applauds it: “In view of the scarcity of easier piano concertos, one can be thankful for this new edition, especially since it can be presented with a very small orchestra, perhaps even with a string quartet.”

SEK 584.00

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