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 V

Franz Joseph Haydn 's Piano Trios - Volume V 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.

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

Joseph Haydn: Stråkkvartetter Op. 42 & Op. 50 – Klassiska Mästerverk för Stråkkvartett Utforska den klassiska musikens rika arv med Joseph Haydns Stråkkvartetter Op. 42 & Op. 50. Dessa verk är några av de bästa exemplen på stråkkvartettgenren och visar Haydns enastående förmåga att skapa balanserade och harmoniskt rika kompositioner. Perfekt för framträdanden och studier. Specifikationer: Kompositör: Joseph Haydn Innehåll: Stråkkvartetter Op. 42 och Op. 50 (Hela samlingen eller utvalda satser) Instrumentering: 2 fioler, altfiol och cello Svårighetsgrad: Medel till avancerad Format: Notbok med partitur och stämmor Förlag: [Ange förlag] Haydns kvartetter är kända för sin melodiska skönhet, harmoniska komplexitet och subtila humor. Denna samling är perfekt för ensembler som vill utmana sig själva och samtidigt njuta av musiken från en av den klassiska periodens mest inflytelserika kompositörer.

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

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

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”.

5 Capricci (Erstausgabe) : 5 Capricci (First Edition)

On hearing Joseph Anton Steffan’s (1726 1797) numerous songs or piano works, he can immediately be identified as an original precursor of Romanticism. His harmonically refined “Capricci” whose tempi and metre often change are particularly attractive, although to date they have lain around in archives in manuscript form. We have dug up these treasures and are offering a first edition of the five Capricci with excellent Henle engraving and with a short introductory preface.

Piano Sonata G major Hob. XVI

In 1784 Joseph Haydn dedicated three piano sonatas to Princess Marie Esterházy in which the composer surprisingly turned to a two-movement form. This is also the case with the Sonata in G major Hob. XVI:40, which begins with a pastoral idyll in 6/8 time that is effectively complemented by a Presto full of clamorous gaiety. The editor of our Urtext edition, Georg Feder, is considered one of the most important Haydn researchers of his time. The fingerings by piano pedagogue Hans-Martin Theopold are a helpful aid for all those who work on this sonata.

Concerto for Organ : Concerto for Organ (Harpsichord)

Joseph Haydn left five organ concerti to posterity. Their genesis can only be approximately determined, but is probably datable to the 1750s, when Haydn was still active, inter alia, as organist to Count Haugwitz. The C major Concerto Hob. XVIII: 10, transmitted only in one single manuscript, was not rediscovered until the 1960s and first published by the Henle Urtext edition in 1969. In the sole surviving manuscript, the solo instrument is identified as a harpsichord, but various criteria unequivocally suggest that it was intended for the organ. It belongs to the type of brief, easily playable solo concerto with string accompaniment.

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.

Arianna A Naxos - Cantata A Voce Sola

The famous ancient legend of Princess Ariadne, who is forsaken by her beloved Theseus, is a favourite subject in the history of opera. In his Italian solo cantata “Arianna a Naxos”, probably written in late 1789, Joseph Haydn succeeded in crafting a captivating psychological drama of one of the most deeply hurt women in Greek mythology. In two recitatives and two arias the princess must endure everything from trepidation to wrath, from grief to desperate love in a musically emphatic manner. Our Urtext edition will provide the soprano performing it with the utmost support throughout. A preface with interesting details about the cantata’s genesis and valuable suggestionsfor the performance of the recitatives rounds off this carefully prepared edition.

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.

Concerto for Horn and Orchestra D major Hob. VIId

Two of Joseph Haydn’s three concertos for horn and orchestra have been lost, while two further horn concertos have often been mistakenly ascribed to him. Haydn’s sole surviving horn concerto, whose authenticity is not in doubt is this one in D major, Hob. Vlld:3. Our Urtext edition is based on the Haydn Complete Edition, and offers two solo parts: that in D follows Haydn’s autograph, while we also supply a part for the modern horn in F. Solo cadenzas are provided for all three movements. The cadenzas printed in the enclosed horn parts are by horn player Johannes Ritzkowsky, as far as possible they exploit the limited possibilities offered by the natural horn of Haydn’s own time.They should not cause today’s horn players any great problems, and will be a welcome bonus.

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 : 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.

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.