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Ludwig Van Beethoven: Sonaten Fur Klavier Und Violine (Sonatas For Violin And Piano) Volume 1

Ludwig Van Beethoven: Sonaten Fur Klavier Und Violine (Sonatas For Violin And Piano) Volume 1

The Sonaten Fur Klavier Und Violine (Sonatas For Piano And Violin) Volume 1 is a beautiful collection of works for Violin and Piano, composed by Beethoven. These sonatas provide a wonderful addition to the repertoire and will present an enjoyable challenge to the violinist and pianist alike.This Urtext edition provides you with a clear and accurate representation of the composer's original intentions. The solo violin part is also included on a separate insert.

SEK 494.00
1

Claude Debussy: Deux Arabesques

Claude Debussy: Deux Arabesques

Debussy?s Arabesques are tranquil and atmospheric pieces for solo Piano, which typify his compositional style. These two graceful pieces have become firm favourites in the piano repertoire, and are among the most well loved pieces written by this great Romantic. This Henle Urtext edition of these pieces provides you with a clear and accurate representation of the composer?s original intentions, with thoroughly detailed commentaries, editorial markings and suggestions, as edited by Ernst-Gunter Heinemann and with fingerings by Hans-Martin Theopold.

SEK 139.00
1

J.S. Bach: Partita A-Moll Flote Solo BWV 1013

J.S. Bach: Partita A-Moll Flote Solo BWV 1013

Bach had a predilection for creating solo works for instruments that were more usually supplied with a keyboard accompaniment. It is thus only logical that, as well as the violin and cello, he also thought of making use of the typical melodic character of the flute in this way. Through the skillful use of broken chords he even succeeds in creating the illusion of polyphony. It soon becomes clear that Bach’s lyrical cantilenas are convincing even without the support of accompanying chords on a keyboard instrument. A high point in flute literature!

SEK 128.00
1

Mily Alexeyevich Balakirev: Islamey - Fantaisie Orientale

Mily Alexeyevich Balakirev: Islamey - Fantaisie Orientale

“A wonderful piece, but very difficult – only a few will be able to master it …”. Since this pronouncement by Nicolai Rubinstein, who nonetheless premièred it with bravura, the work has unjustly been stuck with the label of “unplayable”. The wild, almost demonic character of this “oriental fantasy” has certainly contributed to this reputation: through the use of Caucasian and Armenian folk idioms Balakirev calls forth a Keyboard firework that aroused the admiration even of the Titan, Liszt. Our edition provides today’s pianists with a musical text that is not only reliable and accurate, but also clear and well-organised.

SEK 271.00
1

Maurice Ravel: Gaspard De La Nuit - Henle Urtext

Maurice Ravel: Gaspard De La Nuit - Henle Urtext

A collection of prose poems by the French Romantic Aloysius Bertrand inspired Ravel to write his piano cycle "Gaspard de la nuit". Unlike earlier works he does not merely create an atmospheric depiction of the literary model - in a fascinating manner he recounts the eerie-grotesque scenes using musical means. His "three romantic poems of transcendental virtuosity" were supposed to surpass the technical refinement of Balakirev?s "Islamey" (HN793), which was considered unplayable at the time. This edition not only offers impeccable Urtext in a clear, larger format: the corresponding poem by Bertrand prefaces each part in three languages.

SEK 271.00
1

Claude Debussy: Clair De Lune (Urtext)

Claude Debussy: Clair De Lune (Urtext)

This piece, probably the young Debussy ’s best known Piano piece, was the slow third movement of his Suite Bergamasque (HN 381) in four movements. Although it is conventional as far as the harmony is concerned, the tonal and melodic details already anticipate Debussy ’s later Piano style. The suite was only published in 1905, although Debussy had made it clear by adding the date of composition “1890” to the proofs that it was an earlier work. The fact that he agreed to its publication shows that he still identified with this piece from a period whose style he had long since left behind him.

SEK 128.00
1

Ludwig Van Beethoven: "Ah! Perfido" Op.65

Ludwig Van Beethoven: "Ah! Perfido" Op.65

The origin of this concert aria, which is a core piece in the singer?s repertoire, is swathed in mystery. We still do not know where Beethoven found the text for the aria. The text for the recitative was taken from Pietro Metastasio?s ?Achille in Sciro?, but there it was not followed by an aria. It is also not clear why Beethoven only published the piece nine years after writing it. The Critical Commentary at the end of this single edition from HN 970 gives detailed information on the source situation and all aspects of our edition of this dramatic masterpiece. Breitkopf & Härtel are publishing the performing material.

SEK 176.00
1

Claude Debussy: La Cathédrale Engloutie Preludes 1 No.10

Claude Debussy: La Cathédrale Engloutie Preludes 1 No.10

This single edition – it is number 10 in the first volume of the Préludes (HN 383) of 1910 – shows the extent of Debussy ’s imagination as he conjures up the old city of Ys that has sunk into the sea. Debussy enjoyed playing this piece himself and also left behind a recording on Piano roll. This gives important insights into his tempi. The term prélude, reminiscent of Chopin, makes clear the return to traditional forms, which the now established composer was slowly embracing once again. The programmatic title, as with all of the Préludes, is only given at the end of the piece, thus underlining its passing significance.

SEK 128.00
1

Gabriel Fauré: Élégie Op.24 For Violoncello And Piano

Gabriel Fauré: Élégie Op.24 For Violoncello And Piano

Following the enthusiastic reception of his first Violin Sonata (HN980), it was clear to Fauré that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as the slow movement for a sonata. However, Fauré gave up the sonata project, instead publishing the piece under the title Élégie. It was so successful that Fauré was urged by the publisher to write further pieces. The conductor Édouard Colonne commissioned a version of the Élégie for orchestra in 1895, which was premièred two years later. As usual, our Urtext edition contains both a marked and an unmarked solo part.

SEK 149.00
1

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

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.

SEK 128.00
1

Max Reger: Variations and Fugue On A Theme By J.S. Bach Op.81 (Henle Urtext Edition)

Max Reger: Variations and Fugue On A Theme By J.S. Bach Op.81 (Henle Urtext Edition)

The variation cycle and the fugue are genres in which Max Reger developed a special mastery. Thus one can speak of Reger’s unique Bach Variations op. 81 as the culmination of his piano oeuvre, offering everything that is typical and characteristic of Reger’s style. No other piano work by this great Bach admirer can measure up to this monumental composition in terms of sheer size and inner weight. Written in Munich in 1904, the Variations are considered challenging to play and difficult to comprehend, but aspiring pianists should not let themselves be deterred by this legend. Behind the complex notation are a clear structure and a wealth of expression. Technical complexity andaesthetics here correlate in an almost classical manner.

SEK 292.00
1

Johannes Brahms: Four Songs with Lyrics by Klaus Groth ("Regenlied-Zyklus"), early versions from "Lieder und Gesänge" op. 59 (First Edition)

Johannes Brahms: Four Songs with Lyrics by Klaus Groth ("Regenlied-Zyklus"), early versions from "Lieder und Gesänge" op. 59 (First Edition)

This first edition of the “ Regenlied Cycle ” is only available from G. Henle Publishers. In the preface, Michael Struck, an eminent Brahms scholar, writes about the distinctiveness of the work, until now a completely unknown little song cycle by the composer. In it Brahms sets four texts to music by the poet Klaus Groth, whom he greatly admired. In the well-known song cycle Opus 59, published by Brahms himself, the Groth songs are also to be found together with other songs. The reason why Johannes Brahms ’ Violin Sonata no. 1 in G major op. 78 is also known as the “Regenlied” Sonata becomes clear on acquiring, studying and playing this “ Regenlied Cycle ”.

SEK 218.00
1

Max Reger: Fantasy and Fugue on B-A-C-H op. 46

Max Reger: Fantasy and Fugue on B-A-C-H op. 46

“For me, Sebastian Bach is the be-all and end-all of music; true progress lies and resides in him alone.” It was with these programmatic words that Max Reger prefaced his answer to a survey “What does Johann Sebastian Bach mean to me, and what is his significance for our time?”, posed by the editors of a magazine in 1905. Reger had already proven his adoration of Bach with his magnificent homage to the composer, written and published in 1900 and probably the best-known of his works for Organ. It is an established work in the concert repertoire of well-known virtuosi, but is also increasingly being performed by ambitious church musicians. Henle has now published this sea of notes and performance directions in an edition with a particularly clear and readable text.

SEK 292.00
1

Ludwig van Beethoven: 3 Variation Works WoO 70, 64, 77

Ludwig van Beethoven: 3 Variation Works WoO 70, 64, 77

This small volume comprises three variation cycles of Beethoven’s which are brought together in Urtext editions that are technically fairly easy to master (level of difficulty 3-5). Two of them, the Variations on a Swiss Song WoO 64 and the Variations on an original theme WoO 77, are already marked as “faciles” or “très faciles” in the titles of the respective first editions. When Beethoven sent a manuscript of the Variations on a Theme from Paisiello’s opera La Molinara to the lady for whom he had written the work, he is said to have added the words: “They are so easy that the lady should be able to sight-read them.” It is clear that such remarks were not to be taken tooseriously, all three variation cycles boast both musical and technical challenges.

SEK 117.00
1

J.S. Bach: Sinfonias (Three Part Inventions)

J.S. Bach: Sinfonias (Three Part Inventions)

Bach's Sinfonias 1-15 (Three Part Inventions), included in this edition, were a part of what Bach described as his "honest method by which amateurs of the keyboard - especially, however, those desirous of learning - are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." This Urtext edition makes use of the latest research, and thus is as accurate as possible. Recommended follow up to Bach's Two Part Inventions, also published by G. Henle Verlag HN1169.

SEK 148.00
1

Domenico Scarlatti: Piano Sonata In E K.380 L.23 (Urtext)

Domenico Scarlatti: Piano Sonata In E K.380 L.23 (Urtext)

?Bach?s Preludes are on holiday at the Mediterranean? ? the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti?s piano sonatas could be described thus. Originally composed for harpsichord, these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos, whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395, 451, 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti?s fascinating musical language.

SEK 107.00
1

J.S. Bach: Two Part Inventions

J.S. Bach: Two Part Inventions

Bach's Two Part Inventions 1-15, included in this edition, were a part of what Bach described as his "honest method by which amateurs of the keyboard - especially, however, those desirous of learning - are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." This Urtext edition makes use of the latest research, and thus is as accurate as possible. Those wishing to go on to three parts using this method may also consider Bach's Sinfonias (Three Part Inventions) HN1360.

SEK 146.00
1

Camille Saint-Saëns: Piano Concerto No. 2 In G Minor Op. 22

Camille Saint-Saëns: Piano Concerto No. 2 In G Minor Op. 22

A talented pianist and composer, it stood to reason that Camille Saint-Saëns would engage with the Piano concerto genre early on, particularly as, in France, the 'concerto brilliant' was very popular at that time. Saint-Saëns did indeed begin to compose his own concertos, however; he gave a clear renunciation of the 'concerto brilliant', declaring instead that 'the solo part of a concerto must be set out, and treated, like a dramatic role'. He realised this concept of a 'symphonic concerto'; in his Piano Concerto No.2 In G Minor , composed in 1868. The solo part is technically very challenging, and at the same time closely bound up with the Orchestra. Johannes Umbreit is responsible for the Piano reduction, based on the composer's own version for Two Pianos; Pascal Rogé supplies the fingerings for the solo part.

SEK 367.00
1

Ludwig Van Beethoven: Violin Sonatas - Volume 2 (Henle Urtext Edition)

Ludwig Van Beethoven: Violin Sonatas - Volume 2 (Henle Urtext Edition)

Volume II of Ludwig van Beethoven ’s Sonatas for Piano and Violin includes Violin sonatas No. 6-10 - Beethoven wrote 10 sonatas for Violin and Piano in total (No. 1-5 can be found in Volume I of this edition). Out of these 5 sonatas, Violin Sonata No. 9 (commonly known as the ‘Kreutzer Sonata’) is the most widely known because of its demanding Violin part, unusual length of slightly less than 40 minutes (with the other four averaging at ca. 23 minutes), and emotional scope - while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. This Urtext edition provides you with a clear and accurate representation of the composer's original intentions. Two copies of the Violin score are included as separate inserts, as well as a preface in German, English and French.

SEK 520.00
1

Domenico Scarlatti: Piano Sonata In D Minor K.9 L.413 (Urtext)

Domenico Scarlatti: Piano Sonata In D Minor K.9 L.413 (Urtext)

?Bach?s Preludes are on holiday at the Mediterranean? ? the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti?s piano sonatas could be described thus. Originally composed for harpsichord, these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos, whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395, 451, 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti?s fascinating musical language.

SEK 107.00
1

Niccolo Paganini: 24 Capricci op. 1 (notated and annotated version)

Niccolo Paganini: 24 Capricci op. 1 (notated and annotated version)

In the era before Paganini, a brilliant solo cadenza in a sonata or concerto movement for violin was called a “capriccio”. Practice pieces for string instruments were also given this generic name. The merging of the concertante cadenza form with that of the technical etude was one of Nicolò Paganini’s greatest creative achievements. With his op. 1 Capriccios Paganini opened up a new musical dimension in the genre. They seem improvised, overflow with melodic abundance and are of a clear, spirited design. This Urtext edition is based entirely on Paganini’s autograph, since the first edition contains numerous errors and was probably not proofread by the composer. Renato DeBarbieri’s performance instructions in our version evolved during many years of concert experience and an in-depth study of the autograph. With this and the informative preface, the violinist is offered an edition that the work has long deserved.

SEK 483.00
1