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Alfredo Piatti: 12 Capricci op. 25 for Violoncello solo

Piatti ’s Twelve Caprices, Op. 25 , are the daily bread of all advanced players of the Cello: Sir Yehudi Menuhin mentioned them in the same breath with the Bach Suites. Now Henle is presenting the very first urtext edition of this opus, with information on sources and alternative readings and with fold-out pages to solve the previously knotty problem of page turns.

Ludwig Van Beethoven: Flotenserenade Op.25 Urtext (Parts)

What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever the reason behind it, Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments, Beethoven had no difficulty in finding a publisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (op. 41 - our HN 934), which had been made by a third party.

Ludwig Van Beethoven: Flotenserenade Op.25 Urtext (Study Score)

What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever the reason behind it, Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments, Beethoven had no difficulty in finding a publisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41), which had been made by a third party. Our revised edition follows the musical text which will soon be published in volume VI/1 of our new Beethoven Complete Edition.

Ludwig Van Beethoven: Parthia Op. 103 - Rondo WoO 25 For Wind Octet

“ His present pieces must convince both connoisseurs and others alike of the unbiased opinion that Beethoven will in time become one of the greatest composers in Europe ”, thus wrote Joseph Haydn, when informing the Elector in Bonn on the progress of his pupil in 1793. However, the elector replied that he was already familiar with parts of the Parthia op. 103 that had been sent as evidence of the composer’s progress. Beethoven had apparently only reworked an earlier composition. Nevertheless we must agree with Haydn: The Parthia and the Rondo WoO 25 that was originally intended as the final movement provide wonderful evidence of Beethoven ’s great skill. This Henle Urtext edition also contains additional parts for Horns in F.

Frederic Chopin: Etudes

An authoritative urtext edition of Chopin's Piano Etudes Op.10 and Op.25, including the Drei Etuden KK IIb No.3, edited by Ewald Zimmermann.

Franz Joseph Haydn: Barytone Trios No. 25 - 48

Johannes Brahms: Piano Quartet g minor op. 25

Johannes Brahms ' Piano Quartet In G Minor for Violin, Viola, Cello and Piano.

Franz Joseph Haydn: Barytone Trios No. 25 - 48

Ernest Chausson: Poème For Violin And Orchestra Op. 25 (Violin and Piano)

Violin with Piano reduction.

Pocket umbrella: "Raindrop Prelude"

Keep yourself dry from the rain with this blue/silver windproof, pocket umbrella.The frame is made of aluminium and fibre glass.88 cm in diameter when opened, measures 17 cm when folded, weight 170 g.

Frederic Chopin: Etuden (Urtext)

Chopin succeeded in doing something truly remarkable with his two cycles of Etudes op. 10 and op. 25, published in 1833 and 1837 respectively. Probably no one before him had composed technical practice pieces that at the same time reached such musical heights. Chopin ’s Etudes are character pieces that are full of tension, written for the concert hall. The virtuosic works, including long-running hits such as the “ Revolutionary Etude ” Op. 10 no. 12 belong to the pianist’s core repertoire. In addition to the two cycles Op. 10 and Op. 25, our Urtext edition also contains three etudes without opus number, which Chopin composed for a Parisian Piano method in 1840: wonderfully lyrical miniatures, which can hold their own with the 24 grand studies.

Alban Berg: String Quartet Op. 3

Alban Berg ’s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920, it was the last composition the 25-year-old wrote under the tutelage of Arnold Schoenberg, who admired “ the fullness and unconstraint of his musical language, the strength and sureness of its presentation, its careful working and significant originality ”. Even today the extremely complex work places the highest technical demands on the interpreters.

Johannes Brahms: Händel-Variations Op. 24

We know that Brahms took an active interest in Baroque music throughout his life. It can thus hardly be by chance that he chose a theme from one of Handel’s harpsichord suites for his 25 variations. The variations allow for iridescent colours and moods in the style of Beethoven’s characteristic variations. In keeping with the source, however, the work also features allusions to Baroque models embellishments, pedal points and ends in a grandly laid-out fugue with a triumphant build-up. Opus 24 unquestionably deserves its reputation as the composer’s most important variation cycle.

Joseph Haydn: Il Ritorno Di Tobia

Written 25 years prior to Haydn's late great oratorios, his first oratorio, telling the Biblical story of young Tobias who is able to cure his blind father with heavenly help, is in the tradition of the Neapolitan oratorio and already displays signs of Haydn's personal style; it is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This work was long-neglected, but this Urtext Study Edition reflects its renewed popularity.

Theodor Kirchner: Selected Piano Works

Theodor Kirchner was a successful pianist, pedagogue and composer in Leipzig, Dresden, Zurich, Winterthur and Hamburg. His very extensive output includes works for piano, organ, chamber music and choir. To the very end, Kirchner remained a master of the piano miniature in the tradition of Mendelssohn and Schumann, with characteristic work-titles such as “Album leaf” (op. 7), “Night pictures” (op. 25) and “In quiet hours” (op. 56). His waltzes, polonaises and mazurkas are also worth playing and hearing. This anthology, in customary Urtext quality with 34 piano pieces from all phases of Kirchner’s life, is an outstanding starting point for mastering the works of this Germanromantic.

Frederic Chopin: Etuden (Zimmermann ed.)

Twenty-seven of Chopin?s Etudes, including all of Op.10 and Op.25 brought together in one superb volume. There is a wonderful collection of studies and melodies here, all in varying styles and levels of difficulty, but all have a deep-rooted sense of passion and expression. This Urtext edition has been edited from authoritative sources, texts and original editions by Ewald Zimmerman, and represents an authentic and accurate reproduction of these magnificent works by one of the greatest Piano composers of all time. These pieces remain popular today and are valuable and highly enjoyable concert pieces which emphasise musicality as well as technical principles.

Alban Berg: String Quartet Op. 3

Alban Berg ’s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920, it was the last composition the 25-year-old wrote under the tutelage of Arnold Schoenberg, who admired “ the fullness and unconstraint of his musical language, the strength and sureness of its presentation, its careful working and significant originality ”. Even today the extremely complex work places the highest technical demands on the interpreters; for this reason this edition contains parts that are especially good to play from, in which each musician can also follow what is going on in the other parts.

Franz Xaver Mozart: Complete Piano Works Volume II

Already our first volume of original piano works by Mozart?s youngest son made the music world take notice. The second volume now completes the collection of works by this composer who is often underestimated. At the time, Franz Xaver Mozart was described as follows: "His playing is clear, precise, expressive and full of intellect and emotion". Unlike masters of the keyboard such as Moscheles or Hummel he was not primarily a virtuoso, which is why his works are also attractive for amateurs. Alongside numerous individual works this volume also contains several cadenzas for piano concertos by his famous father, which we are able to publish for the first time thanks to the autographs.Contents Polonaises mélancoliques op. 17 Polonaises mélancoliques op. 22 Polonaises op. 26 Marche G major FXWM VII:9 Ländler F major FXWM VII:19 Deutscher Tanz d minor FXWM VII:23 Deutscher Tanz G major FXWM VII:24 Rondo F major FXWM VII:1 Rondeau F major op. 4 Rondo of Piano Concerto E flat major op. 25 (complete version) Rondo of Piano Concerto E flat major op. 25 (shorter version) Allegretto F major FXWM VII:39 Allegretto G major FXWM VII:40 Andantino A major FXWM VII:41 Cadence for the first movement to Piano Concerto K. 467 from W. A. Mozart FXWM IXb:1 Cadence for the last movement to Piano Concerto K. 467 from W. A. Mozart FXWM IXb:2 Cadence for the first movement to Piano Concerto K. 450 from W. A. Mozart FXWM IXb:6 Cadence for the last movement to Piano Concerto K. 466 from W. A. Mozart FXWM IXb:7 Fragment of a Cadence for the last movement to Piano Concerto K. 450 from W. A. Mozart FXWM IXb:8 Cadence for the first movement to Piano Concerto K. 503 from W. A. Mozart FXWM IXb:B Fragment of an ornamented version for the last movement to Piano Concerto K. 503 from W. A. Mozart FXWM IXb:C

Wolfgang Amadeus Mozart: Piano Sonata In D Major KV 311 (284c)

This “little” D-major sonata is somewhat the pansy (or violet?) among Mozart’s eighteen piano sonatas. It is “little” in dimensions when compared to the two other sonatas in the same key of D major (K. 284, and especially K. 576). It is very seldom heard in concert, and in piano lessons, too, is played less frequently. Admittedly it is not enveloped by the tragic gloom of the Sonata in A minor K. 310, nor does it have a wonderfully heartfelt slow movement like the Sonata in C major K. 309, these being the two works with which it was printed in Paris in 1778. K. 311, however, is pianistically “worthwhile” in many regards: in the opening movement one can practice several standardtechnical challenges (hand-crossings, effervescent runs, parallel sixths, tremolos at large intervals, etc.). The slow movement (“Andante con espressione”) hones expressiveness, something that does not always come naturally to many keyboardists (a compositional trick also makes a surprise appearance at bar 25). With its lively 6/8 meter, the finale in turn recalls not only the veritable “Hunt Sonata” K. 576 but could almost have come from the solo part of a Mozartean piano concerto. All in all: a worthwhile challenge, this sonata, which sounds much harder than its technical demands require.