Franz Joseph Haydn: Piano Trios, Volume II

Franz Joseph Haydn 's Piano Trios, Volume II for Violin, Cello and Piano. Urtext edition score and parts.

Franz Joseph Haydn: Piano Trios, Volume IV

Franz Joseph Haydn 's Piano Trios, Volume IV for Violin, Cello and Piano. Urtext edition score and parts.

Franz Joseph Haydn: Piano Trios, 2nd Volume

Franz Joseph Haydn 's Piano Trios, 2nd Volume for Violin, Cello and Piano. Urtext edition score and parts.

Franz Joseph Haydn: Piano Trios - Volume V

Franz Joseph Haydn 's Piano Trios - Volume V for Violin, Cello and Piano. Urtext edition score and parts.

Joseph Haydn: Streichquartette Op.42/50 (String Quartet)

Joseph Haydn: Strygekvartetter Op. 42 & Op. 50 – Klassiske Mesterværker til Strygekvartet Dyk ned i den klassiske musiks rige arv med Joseph Haydns Strygekvartetter Op. 42 & Op. 50. Disse værker repræsenterer noget af det bedste inden for strygekvartetgenren og demonstrerer Haydns exceptionelle evne til at skabe balancerede og harmonisk rige kompositioner. Perfekt til både optræden og studiebrug. Specifikationer: Komponist: Joseph Haydn Indhold: Strygekvartetter Op. 42 og Op. 50 (Hele samlingen eller udvalgte satser) Instrumentation: 2 violiner, bratsch og cello Sværhedsgrad: Øvede til avancerede Format: Nodebog med partitur og stemmer Forlag: [Indsæt forlag] Haydns kvartetter er kendt for deres melodiske skønhed, harmoniske kompleksitet og subtile humor. Denne samling er ideel til ensembler, der ønsker at udfordre sig selv og samtidig nyde musikken fra en af den klassiske periodes mest indflydelsesrige komponister.

Franz Joseph Haydn: Piano Trios, Volume III (for Piano, Flute (or Violin) and Violoncello)

Franz Joseph Haydn 's Piano Trios, Volume III for Piano, Flute (or Violin) and Cello. Urtext edition score.

Franz Joseph Haydn: Trios Fur Zwei Floten Und Violoncello

London, with its bustling musical scene, always provided Haydn with welcome surroundings at a time when the Flute was extraordinarily popular among English amateurs. The Earl of Abingdon, an accomplished flautist, undoubtedly enjoyed playing these entertaining trios. Abingdon was a member of Haydn ’s circle of acquaintances in London and a composer in his own right: a theme from one of his songs (“The Lady’s Mirror”) served Haydn for a set of variations in the second trio. Neither of the men could have foreseen the huge success that these cheerful and straightforward pieces would enjoy among music-lovers all over the world.

Joseph und Michael Haydn-Autographe + Abschriften : Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Franz Joseph Haydn: String Quartets Op.77 And Op.103 (Urtext Edition)

These are the last of the nearly seventy quartets in Haydn ’s oeuvre. Originally he intended to write a set of six quartets, as so often in the past, but at the time they were written, in 1803, Haydn ’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103, adding to the print the portentous words: “Gone is all my strength, old and weak am I”. Musically, however, these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far as to call op. 77, no. 2, his “most beautiful string quartet”.

Joseph Haydn Gesamtausgabe : Verschiedene kirchenmusikalische Werke, 1. Folge - Reihe XXII, Band 2

Die Sieben letzten Worte unseres Erlösers am Kreuz : Hob. XX/2, Vokalfassung, Wissenschaftliche Gesamtausgabe, Kritischer Bericht, Reihe XXVIII, Band

Written entirely in German. When Haydn stopped in Passau on his second journey to England, he heard a vocal version of his own orchestral work The Seven Last Words. It had been made by the Kapellmeister at Passau cathedral JosephFriebert and Haydn was quite impressed - except: I believe I could have done the voice parts better. He acquired a copy and set about making his own vocal version, taking over most of the text. Haydn particularly liked his ownvocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.

Complete Piano Sonatas Volume I w/o fg pb. : Edition without fingering

The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext, free from added fingering suggestions, will now also find these in the Henle catalogue. Volume I contains Haydn’s early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this group has been questioned – the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute,now provides comprehensive information on new findings regarding this important topic area.

Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Urtext edition study score for Ludwig Van Beethoven 's Coriolan Overture Op.62 . Beethoven 's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Roman hero Coriolanus. This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807, however, the play had long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not – and he thus wrote one of the earliest and to-date best-loved concert overtures in musical history. The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.

Quintet in b minor op. 115 : Quintet in b minor op. 115

Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing – and presumably with a view toward further dissemination of the work – an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorised by Brahms. The Henle Urtext edition, revised according the text of the New Brahms Complete Edition, thus also includes the alternate viola part. In abrief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.

Complete Piano Sonatas Volume I pb.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic, revised and with a new look, to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume I contains Haydn’s early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this grouphas been questioned – the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute, now provides comprehensive information on new findings regarding this important topic area.

Complete Piano Sonatas Volume I cb.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic, revised and with a new look, to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume I contains Haydn’s early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this grouphas been questioned – the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute, now provides comprehensive information on new findings regarding this important topic area.

Quintet in b minor op. 115 SE : Quintet in b minor op. 115

Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing – and presumably with a view toward further dissemination of the work – an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorised by Brahms. The Henle study edition, revised according to the text of the New Brahms Complete Edition, thus also documents for the first time the violavariants of the solo part in the ossias. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.

Le Carnaval des animaux

Written in March 1886 as a humorous occasional work for the traditional carnival concert organized by his cellist friend Charles-Joseph Lebouc, the Carnival of the Animals was so successful that Saint-Saëns banned performances and publication soon afterwards. He was worried that this “grand zoological fantasy” - consisting of 14 short individual pieces for eleven instruments - might overshadow his serious works. Yet only five months after the composer’s death, it appeared in print after all, beginning its worldwide victory march - in its original setting as well as in numerous arrangements. Thus, the Carnival did in fact arguably become the most popular work by this French composer and, owing to its musical originality, it is also a favourite in music lessons or for school orchestra performances. With this combination of a study edition and an edition in parts (for which additional parts for larger numbers of strings may be ordered), G. Henle Publishers now presents the perfect resource for such occasions.