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Ludwig Van Beethoven: Three Equali For Four Trombones WoO 30

When Beethoven visited the director of music at the cathedral in Linz, Franz Xaver Glöggl, in autumn 1812, the latter asked his guest to "compose socalled Equali for 4 trombones for All Souls? Day [2 November]?. Beethoven readily complied ? and it was to be his own funeral music. For in 1827 the Equali were sung in an arrangement for male choir as a ?dirge for Beethoven?s funeral procession?. The original instrumental version is today a core work in the trombonist?s repertoire. Henle's Urtext edition is based on the musical text in the Beethoven Complete Edition and contains a score and single parts (both in the original C and in modern bass clef).

SEK 250.00

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Felix Mendelssohn: Songs Without Words (Henle)

Songs without Words Op.19 Nos.1-6Songs without Words Op.30 Nos.1-6Songs without Words Op.38 Nos.1-6Songs without Words Op.53 Nos.1-6Songs without Words Op.62 Nos.1-6Songs without Words Op.67 Nos.1-6Songs without Words Op.85 Nos.1-6Songs without Words Op.102 Nos.1-6Song without Words [Rider's Song]Appendix: Song without Words (version of the english First Edition) op. 30,4Appendix: Song without Words (version of a transcription by Carl Klingemann) op. 85,6Appendix: Song without Words (version of later autograph) op. 102,2

SEK 399.00

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Isaac Albéniz: España Op.165 (Urtext Edition)

When the Catalan composer Albéniz wrote his six album leaves España at the age of 30, he was in London and his Piano recitals were causing a sensation. At these concerts he often performed his own compositions which were infused with the flair of his home country.Albéniz also gave the first performance of the Piano cycle España in London, taking his audience on a journey through the Spanish countryside: exotic dance rhythms ("Zortzico") and melodic folk tunes ("Serenata") are preceded by the famous "Tango", made known through many arrangements.

SEK 245.00

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Frederic Chopin: Funeral March [Marche Funèbre] From Piano Sonata Op. 35

This most famous funeral march in music history is part of a piano sonata, the third movement of Chopin’s op. 35 Sonata in b-flat minor, in which according to Robert Schumann -- Chopin “brought together four of his most deranged children”. It was not long until the Funeral March which was written two years before the sonata’s other movements of the sonata was removed from this context and performed as an independent piece. This is also how it was heard, in an orchestral version, at Chopin’s own funeral in Paris on 30 October 1849. In addition to our edition of the complete op. 35 Piano Sonata (HN 289), we are offering this practical separate issue of the Funeral March inthe proven Henle Urtext format.

SEK 107.00

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Johann Sebastian Bach: Art Of The Fugue BWV 1080

Bach’s death meant that the Art of Fugue was left unfinished. In his father’s manuscriptCarl Philipp Emanuel noted exactly where the last fugue of the Art of Fugue broke off: “While working on this fugue, in which the name BACH appears in the countersubject, the author died.” Our editor Davitt Moroney brings the fugue to a close with 30 supplementary measures. There has been frequent speculation about what type of scoring would be most appropriate for the piece, particularly since Bach wrote the individual parts in score form and left no information about instrumentation. Certainly, strict fugues can be found in any ensemble scoring, this had been normal for centuries. It isremarkable, though, how the cycle can easily be played on the harpsichord or piano a strong argument for keyboard performance.

SEK 229.00

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Johannes Brahms: Organ Works (Urtext)

The German composer and pianist Johannes Brahms (1833-1897) wrote very few pieces of music for Organ, and even fewer were actually published during his lifetime. He was a noted perfectionist, and often destroyed works he thought unworthy of publication. His Organ Works can be divided into two distinct groups. The 3 Preludes and 4 Fugues that form WoO 7-10 were written during the 1850s, either as private gifts or as “Novice Projects” he completed as he attempted to master the instrument. Most of them were thought destroyed by the composer, and only rediscovered and published some 30 years after his death. By contrast, the Eleven Chorale Preludes (Op 122) were his last composition; written in 1896 and published posthumously in 1902. They are relatively short and comparatively easier, and are based on 9 different Lutheran Chorales.

SEK 319.00

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Domenico Scarlatti: Selected Piano Sonatas - Volume II

Domenico Scarlatti is today considered as one of music history’s great piano composers, and the first-ever piano virtuoso. The present collection contains 24 sonatas from various creative periods, offering a survey of the rich and varied output of this Italian who worked at the Spanish court. Scarlatti triumphed over the heavy Baroque style with his characterful themes, natural cantabile melodies, and dance-like movements. The performance-technical moment is a formally constitutive element within his one-movement sonatas. For the first time in the history of piano music, the interpreter must cross the hands and master wide leaps. Renowned pianist Bengt Johnsson provides informationon Scarlatti’s life and career, as well as on the various sources on which this edition is based, in his preface. A few sonatas appear in print here for the first time. An additional “bon-bon” is the reprint of a preface to the edition of 30 of Scarlatti’s piano sonatas published in 1738. Absorbing reading for all who wish to acquire a deeper understanding of Scarlatti’s piano music.

SEK 367.00

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Domenico Scarlatti: Selected Piano Sonatas - Volume III

Domenico Scarlatti is today considered as one of music history’s great piano composers, and the first piano virtuoso ever. Just like the first two volumes (HN 395 and 451) of selected keyboard sonatas, this third one contains 24 sonatas from various periods of the master’s creative life, offering an overview of the rich variety to be found in the work of this Italian who worked at the Spanish court. Scarlatti triumphed over the heavy Baroque style with his characterful themes, natural cantabile melodies, and dance-like movements. The performance-technical moment is a formally constitutive element within his one-movement sonatas. For the first time in the history of piano music,the interpreter must cross the hands and master wide leaps. Renowned pianist Bengt Johnsson provides information on Scarlatti’s life and career, as well as on the various sources on which this edition is based, in his preface. An additional “bon-bon” is the reprint of a preface to the edition of 30 of Scarlatti’s piano sonatas published in 1738. Absorbing reading for all who wish to acquire a deeper understanding of Scarlatti’s piano music.

SEK 393.00

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Ludwig Van Beethoven: String Quartets Op. 18,1-6 And String Quartet Version Of The Piano Sonata, Op. 14,1

When it came to the genre of the string quartet, Beethoven was a relative latecomer. He was already 28 years old when he obtained the contract for the composition of the Quartets opp. 18 from Prince Lobkowitz, and 30 when he completed them. These are mature works that clearly distinguish themselves in their technical demands from, say, those of Mozart’s quartets, yet on the other hand, they orient themselves musically on Mozartian practice. The A major Quartet K. 464 obviously served as a model for Op. 18 no. 5. Be that as it may, Beethoven’s six Quartets op. 18 are completely autonomous works that are on a par with many of the major contributions to this genre. In the1980s, scribal copies in which Beethoven had presented the quartets to his patron Prince Lobkowitz once again became accessible. They represent a stage prior to the final version, having richer dynamics and articulation marks that make them interesting from a performance practice point of view. As the autographs of the Six Quartets op. 18 are no longer extant, these manuscripts assume a singular importance. This Henle Urtext edition is the first to take these manuscripts into consideration.

SEK 372.00

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