Franz Joseph Haydn: L'Infedeltà Delusa - Burletta Per Musica

Franz Joseph Haydn: La Vera Costanza - Dramma Giocoso Per Musica

Franz Joseph Haydn: L'Incontro Improvviso - Dramma Giocoso Per Musica - 1st part

Franz Joseph Haydn: L'Incontro Improvviso - Dramma Giocoso Per Musica - 2nd part

Franz Joseph Haydn: L'Anima Del Filosofo Ossia Orfeo Ed Euridice. Dramma Per Musica

Franz Joseph Haydn: L'Anima Del Filosofo Ossia Orfeo Ed Euridice. Dramma Per Musica

J.S. Bach: Triosonate Und Canon Perpetuus Aus Dem Musikalischen Opfer

Bach Trio Sonata BWV1079 No8 & Canon Perpetuus BWV1079 No9 from the Musical Offering for Flute Violin & Con tinuo edited by Eppstein & Kirnberger.

Frederic Chopin: Nocturnes (Henle Urtext Study Score)

Time and again, Chopin succeeded in giving different Piano music genres their own individual characters, whether etudes, preludes, waltzes, scherzi or Nocturnes . The Irishman John Field had already composed over 20 nocturnes, which presumably greatly influenced Chopin . The latter continued to develop the light, song-like Piano writing and created works whose dreamy, longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously, including the famous Lento con gran espressione in c sharp minor – in two authentic versions.

Frederic Chopin: Nocturnes

Time and again, Chopin succeeded in giving different Piano music genres their own individual characters, whether etudes, preludes, waltzes, scherzi or Nocturnes . The Irishman John Field had already composed over 20 nocturnes, which presumably greatly influenced Chopin . The latter continued to develop the light, song-like Piano writing and created works whose dreamy, longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously, including the famous Lento con gran espressione in c sharp minor – in two authentic versions.

Schumann/Liszt: Liebeslied Love Song Widmung Dedication Piano

In his virtuosic piano arrangement of Schumann’s “Widmung” (“Du meine Seele, du mein Herz”), Franz Liszt transformed this intimate song into a dramatic declaration that reaches its powerful climax at the phrase “Mein guter Geist, mein bess’res Ich”, using chords to be played con somma passione. In Liszt’s autograph the melody is overlaid by the song text, but he changes the title to “Liebeslied”. The first edition, published in Leipzig in 1848, retained this heading, and thus the song is still known today under two different titles. In collaboration with Liszt scholar Mária Eckhardt Henle Verlag presents this best-known of all of Liszt’s Schumann arrangements in a reliable Henle Urtext quality edition.

Frederic Chopin: Etude In E Major, Op. 10, No. 3

Not every listener will immediately realize that this piece, which begins in the style of a dream-like nocturne with one of Chopin’s most enchanting melodic ideas, originated as a piano etude. But upon closer examination (and, above all, while playing it), the piece proves to be a subtle legato study in which the right hand consistently plays both the melody and the accompaniment in the middle voice. With the “con bravura” furioso outburst in the middle section (if not earlier), it becomes clear that advanced technical competence is required here. Those who are not ready to tackle the complete volume of Chopin Etudes (HN 124) will be well served by this separate Urtext edition.

Ludwig Van Beethoven: Piano Sonata In C Minor, Op. 10, No. 1

The Piano Sonata No. 5 in C Minor (Op.10, No.1) was written in 1798 and dedicated to Anna Margarete von Browne, the wife of a Russian diplomat who was Beethoven's main patron at the time. One of his earlier works, it is in three movements: Allegro molto e con brio - Adagio molto – Prestissimo . Ludwig van Beethoven (1770 – 1827) was a German composer and pianist, and arguably the most famous composer of all time. He was the last great figure of the Classical era, and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies, 5 Piano Concertos, 1 Violin Concerto, 32 Piano Sonatas, and 16 String Quartets.

Franz Joseph Haydn: Sechs Sonaten Fur Violine Und Viola

The title “ Solo per il Violino ” which Haydn gave these sonatas in his “Entwurf-Katalog” (the handwritten catalogue he maintained of his own works), already gives us an indication: it is only the Violin which is treated as a solo instrument in these six sonatas – the Viola has an accompanying role. Haydn might have written these “soli” for himself; but they also might have been for Luigi Tomasini, the “first violinist” at Esterházy’s court. Today these duos enjoy great popularity, particularly for teaching purposes. We are now proud to present the definitive Henle edition following the text in the Complete Edition of Haydn ’s Works – with the addition of specially composed cadenzas.

Frederic Chopin: Nocturne In C Sharp Minor Op. Post

Frédéric Chopin is known worldwide as one of the leading musicians of the Romantic era. Nocturne In C Sharp Minor is another one of the Polish virtuoso pianist’s works written for the solo Piano. First published a quarter of a century after Chopin ’s death the piece is often referred to by its marking: Lento con gran espressione. Although always placed in close proximity to Chopin ’s other nocturnes, the title Nocturne owes its existence entirely to Chopin ’s sister Ludwika, whose handwritten copy of the piece is followed in this Urtext edition, as the autograph manuscript is lost. A much different original version found in Chopin ’s initial draft is also presented, as well as a preface in German, English and French.

Felix Mendelssohn: Works For Piano Four-Hands

Felix Mendelssohn Bartholdy knew that he could rely on his highly gifted sister Fanny as a partner in four-hand piano pieces. While he wrote only a few works of this sort, the two pieces presented here are superb examples of the genre. The Andante con variazioni, op. 83, presents a further development of his cycle of the same name for piano two-hands. The Duet Andante and Allegro assai vivace was formerly known as the Allegro brillant, op. 92. This latter, however, is only the first version of the work, from which the lovely slow introduction is still missing. Henle Verlag is now publishing Mendelssohn’s complete and revised final version for the first time, the earlyversion is also provided, in an Appendix, for purposes of comparison.

Johann Pachelbel: Canon And Gigue In D (Henle Urtext)

Johann Pachelbel, born in Nuremberg in 1653, a generation before Bach, is one of Southern Germany?s most important post-Reformation organ composers. His compositions were already widely known at the time. The most popular work today is probably the canon with ensuing gigue in D major. The canon - according to the source ?a 3 Violinis con Basso c.? - is built up over an ostinato bass whose two bar fi gure is repeated a total of 28 times. The following short gigue is also in a strict contrapuntal style. It is not known when the work was composed. As with most of his other chamber music works, Pachelbel might have composed it during his time in Thuringia between 1677 and 1695. This pleasing work is also popular with amateur ensembles.

Debussy: La Plus Que Lente Piano Solo

Slow waltzes enjoyed a special vogue in Parisian salons of the early twentieth century, leading Debussy – with a twinkle in his eye – to produce his piano waltz “La plus que lente” (“The Slower-than-Slow”). Parisian publisher Durand brought Debussy’s piano waltz, issued in July 1910, to a wider public by publishing it that same year as a supplement to Le Figaro, as well as in arrangements (by others) for violin and piano and for piano, 4-hands. Debussy himself produced a version for orchestra, and in 1913 he even – at a rather faster tempo – recorded it on a piano roll for the Welte-Mignon company. This work, headed “molto rubato con morbidezza” (with much rubato, morbidly), is now available as a separate Henle Urtext. A preface, extended from those in the anthology volumes HN 1194 and HN 404, will stimulate curiosity about this charming miniature waltz.

Ludwig Van Beethoven: Piano Sonata No. 3 In C Op. 2 No. 3

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 op. 1, 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. This large-scale Sonata in C is notable for its swift outer movements, marked Allegro con brio and Allegro assai respectively. They demand a considerable degree of virtuosity from even experienced performers. If all goes well, the audience will marvel! 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.

Ludwig Van Beethoven: Soprano Arias, Duet WoO 93, Trio Op.116

The vocal works collected in this volume were composed for very different occasions. Several of them were tailor-made for female singers of Beethoven?s acquaintance; with others he was trying his hand at Italian opera (under the guidance of none other than Antonio Salieri). In addition to core repertoire pieces such as ?Ah! perfido? op. 65, the volume also contains unknown treasures such as ?No, non turbarti? ? ?Ma tu tremi, o mio tesoro??, a scene and aria which Beethoven revised several times. In our edition, based on the Beethoven Complete Edition, the last version of the aria is made available for musicians for the first time.Contents:"Erste Liebe, Himmelslust" / "Primo amore, piacer del ciel" Aria for Soprano and Orchestra WoO92"Soll ein Schuh nicht drücken" Aria for Soprano and Orchestra WoO 91/2"Ah! perfido" - "Per pietá, non dirmi addio" Scena and Aria for Soprano and Orchestra op. 65"No, non turbarti" - "Ma tu tremi, o mio tesoro?" Scena and Aria for Soprano and Orchestra WoO 92a"Ne' giorni tuoi felici" Duet for Sopran, Tenor and Orchestra WoO 93"Tremate, empi, tremate" Trio for Soprano, Tenor, Bass and Orchestra op. 116

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.