Johann Sebastian Bach: Sonatas for Viola da Gamba and Harpsichord BWV 1027-1029

A superb collection for Viola da Gamba or Violoncello with Piano accompaniment. Set as part of the ABRSM Cello Syllabus.

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.

C.P.E. Bach: Gamba Sonatas Wq 88, 136, 137, Edition for Gamba (Viola)

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father?s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.?

Johann Sebastian Bach: Sonatas for Viola da Gamba and Harpsichord BWV 1027-1029

Carl Philipp Emanuel Bach: Gamba Sonatas - Edition For Cello

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for Viola Da Gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent Viola Da Gamba player in the court orchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the Harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the Cello; the fingerings in the marked copies provide helpful suggestions.

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.

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.

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: 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.

Johann Sebastian Bach: Sonatas for Violin and Piano (Harpsichord) 1-3 BWV 1014-1016

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol,supplemented by further sources. Additional text-critical comments round off this valuable Urtext edition.

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.

Johann Sebastian Bach: Sonatas no. 4 - 6 for Violin and Piano (Harpsichord) BWV 1017-1019

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol.The Sonata in G Major BWV 1019 exists in quite varying versions, each with different individual movements. For this reason, two older versions of the Sonata are published here in an appendix, making this Urtext edition especially valuable for Bach enthusiasts too.

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.