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Ludwig Van Beethoven: Concerto For Piano And Orchestra No. 3 Op. 37

Ludwig Van Beethoven: Concerto For Piano And Orchestra No. 3 Op. 37

Ludwig van Beethoven composed his five large piano concertos over a period of twenty-five years. When the composer sold his first two piano concertos in late 1800, he mentioned that he had even “better” ones which for the time being he was keeping for himself until he went on tour. He probably meant a concert tour with the just finished Third Piano Concerto in c minor, which is presented here in a piano reduction. The edition, of our customary Urtext quality, is arranged for practical use and based on the Beethoven Complete Edition, for which Beethoven’s autograph served as the source. The detailed editor’s preface by Beethoven scholar Hans-Werner Küthen concludes withvaluable information about the edition.

SEK 176.00
1

Ludwig van Beethoven: Concerto for Piano and Orchestra No. 3 c minor op. 37

Ludwig van Beethoven: Concerto for Piano and Orchestra No. 3 c minor op. 37

Ludwig van Beethoven composed his five large piano concertos over a period of twenty-five years. When the composer sold his first two piano concertos in late 1800, he mentioned that he had even “better” ones which for the time being he was keeping for himself until he went on tour. He probably meant a concert tour with the just finished Third Piano Concerto in c minor, which is presented here in a piano reduction. The edition, of our customary Urtext quality, is arranged for practical use and based on the Beethoven Complete Edition, for which Beethoven’s autograph served as the source. The detailed editor’s preface by Beethoven scholar Hans-Werner Küthen concludes withvaluable information about the edition.

SEK 367.00
1

Ludwig Van Beethoven: Quintett Fur Klavier Und Blaser Op. 16

Ludwig Van Beethoven: Quintett Fur Klavier Und Blaser Op. 16

Works for or with wind instruments (then called “Harmonie” in German) were an extraordinarily popular genre in the Viennese Classical era. Beethoven also created a number of works that call for wind instruments, including his Piano Quintet op. 16 in E flat major. It was written in 1796 while Beethoven was on his concert tour to Prague and Berlin. Unmistakable are the parallels with Mozart’s corresponding Quintet K. 452, both in the key and in the sequence of single movements. The grace and serenity that stamp the work recall the model particularly favoured by Beethoven. That he himself had a soft spot in his heart for this work emerges from the fact that he repeatedlyplaced it on the programs of his concerts as a pianist, and also arranged it as a quartet for piano and three stringed instruments.

SEK 425.00
1

Ludwig van Beethoven: The Piano Concertos in a Slipcase

Ludwig van Beethoven: The Piano Concertos in a Slipcase

Among Hans-Werner Küthen’s most important editions are the five piano concertos in the Complete Edition of Beethoven’s works. G. Henle Publishers now offer this tour de force in the form of study scores for students and all friends of Beethoven’s music. This edition corrects numerous errors and irregularities that were found in earlier editions. The specialist press wrote about this Urtext edition with accompanying texts: “Hans-Werner Küthen gives these masterpieces the editions that they deserve”.

SEK 749.00
1

Antonín Dvorák: Rondo Fur Violoncello Und Klavier Op. 94

Antonín Dvorák: Rondo Fur Violoncello Und Klavier Op. 94

Though only a minor pendant to the great Cello Concerto, Antonín Dvorák ‘s Rondo Op. 94 is an effective and entertaining piece that belongs in the standard repertoire of every cellist. Dvorák composed it in December 1891, shortly before leaving for America, and he gave the work its première performance on 3 January 1892 with his friend, the cellist Hanus Wihan, during his farewell concert tour. To produce this urtext edition Milan Pospísil consulted the autograph score and first edition not only for the Piano version, but also for the orchestral version of October 1893.

SEK 224.00
1

Franz Liszt: Rhapsodie Espagnole (Henle Urtext Edition)

Franz Liszt: Rhapsodie Espagnole (Henle Urtext Edition)

A six-month tour through Spain and Portugal left its mark… Fascinated by the temperamental melodies of the Iberian Peninsula, Liszt integrated elements of this music into his Piano works. The character of the “ Rhapsodie Espagnole ” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy, one encounters Spanish noblesse and elegance. At the centre are the age-old theme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”); both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.

SEK 177.00
1

Felix Mendelssohn: Venetian Gondola Songs

Felix Mendelssohn: Venetian Gondola Songs

In autumn 1830 Felix Mendelssohn visited Venice whilst on a great European tour and was intoxicated by his impressions. He said of the local gondoliers: ?The gondoliers are now crying out to one another again, and the lights are reflected deep in the water; one is playing the guitar and singing. It is a merry night?. Perhaps it was with this in mind that Mendelssohn wrote four Venetian Gondola Songs between 1830 and 1841 (published in Henle Urtext in the collected volumes HN 327 and 861). Henle are now publishing the four popular, easy-to-play and melodious pieces together in one volume, with a new preface by Ullrich Scheideler.

SEK 155.00
1

Antonín Dvorák: Waldesruhe Op.68 No.5

Antonín Dvorák: Waldesruhe Op.68 No.5

Dvo ák had previously written solo music for Hanus Wihan, later the dedicatee of his cello concerto. When he was planning a trio concert tour for 1892 with Wihan and violinist Ferdinand Lachner and needed further works for cello and piano, he reworked “Silent Woods” for cello and piano during the Christmas holidays of 1891. Originally a four-hand piano piece from his cycle “From the Bohemian Forest”, the cantabile character piece became a popular recital item owing to its sonorous cello sound. Dvo ák later arranged it as an effective concert piece for violoncello and orchestra. The first edition of 1894 is the basis for editor and Dvo ák specialist Milan Posp šil’s Urtext editionfor violoncello and piano.

SEK 202.00
1

Isaac Albéniz: Tango (Piano)

Isaac Albéniz: Tango (Piano)

Señor Albéniz may well inscribe upon his escutcheon the words ?Veni, vidi, vici?.? The London press thus commented on the Spaniard?s triumphal tour of Britain between 1889 and 1893. It was in the British Isles of all places that Albéniz increasingly turned to subjects from his native country, composing España (HN 857) amongst other things. Although it might seem surprising, in this tribute to the Iberian peninsula Albéniz also included a tango that appears in the form of a Cuban habanera. Behind the multicultural charade is one of Albéniz? most popular works, full of warm longing for exotic climes. This easy-to-play piece is now available as a single edition.

SEK 107.00
1

Felix Mendelssohn: String Quartets Op.12 And Op.13 (Study Score)

Felix Mendelssohn: String Quartets Op.12 And Op.13 (Study Score)

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).

SEK 234.00
1

Felix Mendelssohn: String Quartets Op.12/13

Felix Mendelssohn: String Quartets Op.12/13

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 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).

SEK 473.00
1

J. S. Bach: French Overture B Minor BWV 831

J. S. Bach: French Overture B Minor BWV 831

J. S. Bach 's French Overture In B Minor BWV 831 was published, along with the Italian Concerto, as the second half of the Clavier-Übung II in 1735. This suite in B minor was originally scored for two-manual Harpsichord and is the longest Keyboard suite ever composed by Bach , with eleven movements. An earlier version of this work exists, in the key of C minor (BWV 831a); the work was transposed into B minor to complete the cycle of tonalities in Parts One and Two of the Clavier-Übung. The term overture refers to the fact that this suite starts with an overture movement, replacing the allemande found in Bach 's other Keyboard suites. There are optional dance movements both before and after the Sarabande and another unusual aspect of this work is the inclusion of an extra movement after the Gigue. This is an "echo", a piece meant to exploit the terraced loud and soft dynamics of the two-manual Harpsichord. Other movements also have dynamic indications (piano and forte), which are not often found in Keyboard suites of the Baroque period. This Henle Urtext Edition does not include fingering.

SEK 160.00
1

J. S. Bach: French Overture B Minor BWV 831

J. S. Bach: French Overture B Minor BWV 831

J. S. Bach 's French Overture In B Minor BWV 831 was published, along with the Italian Concerto, as the second half of the Clavier-Übung II in 1735. This suite in B minor was originally scored for two-manual Harpsichord and is the longest Keyboard suite ever composed by Bach , with eleven movements. An earlier version of this work exists, in the key of C minor (BWV 831a); the work was transposed into B minor to complete the cycle of tonalities in Parts One and Two of the Clavier-Übung. The term overture refers to the fact that this suite starts with an overture movement, replacing the allemande found in Bach 's other Keyboard suites. There are optional dance movements both before and after the Sarabande and another unusual aspect of this work is the inclusion of an extra movement after the Gigue. This is an "echo", a piece meant to exploit the terraced loud and soft dynamics of the two-manual Harpsichord. Other movements also have dynamic indications (piano and forte), which are not often found in Keyboard suites of the Baroque period. This Henle Urtext Edition has been edited by Rudolf Steglich and includes fingering by Hans-Martin Theopold.

SEK 160.00
1