G. Henle Verlag

  • Berg – Violin Concerto

    The genesis of Berg’s Violin Concerto in 1935 is shrouded in tragedy. He had only just finished making the first sketches when Manon Gropius – the daughter of Walter Gropius and Alma Mahler, with whom Berg was friends – died of polio. He dedicated the concerto “To the memory of an angel” in her memory. Then Alban Berg died in 1935, so he no longer lived to see it printed or performed. Our edition – violin part and piano reduction – follow the score edited by Michael Kube, which is being published simultaneously by Breitkopf & Härtel together with the orchestral parts and pocket score. The illustrious violinist Frank Peter Zimmermann has provided fingerings and bowings for the violin part. This edition is worldwide available.
     
    Contents
    Preface
    I Andante
    Allegretto (scherzando)
    II Allegro
    Adagio
    Comments
     
    Editor: Michael Kube
    Piano reduction: Jan Philip Schulze
    Fingering and bowing for Violin: Frank Peter Zimmermann
    Score Pages : 57
    (Unmarked) Violin Part Pages: 18
    (Marked) Violin Part Pages: 18
    Language: English, French, German
    Publisher: Henle Verlag

    Berg – Violin Concerto

    26,3029,20

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  • Beethoven – Variations on Folk Songs op.105 and 107

    Beethoven Variations on Folk Songs op. 105 and 107 for Piano and Flute ( Violin ) ad lib. 
     
    Pages: 96 Book & 28 Parts
    Language: English / German
    Publisher: G. Henle Verlag

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  • Schumann – Sonata g-Moll Op.22

    “I am endlessly looking forward to the second sonata”, thus Clara wrote to Robert in 1838, “Your whole being is so clearly expressed in it.” Nonetheless, she encouraged him to revise the last movement in the same letter, which provided the composition with a completely new finale. The first two movements were also reworked several times. The editor assiduously provides information on the complicated genesis of the work in this new edition. The musical text is not only followed by the original final movement, which is musically and pianistically very demanding but also the model for the second movement: Schumann made an arrangement of one of his own songs (“In the Autumn”) for the piano.?

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  • Schubert – Piano Pieces / Piano Variations

    Contains the following pieces: Andante in C Major, D 29 ; 10 Piano Variations in F Major, D 156 ; Adagio in G Major, D 178 ; 13 Piano Variations in A Minor, D 576 ; Scherzo in B-flat Major, D 593, No. 1 ; Scherzo in D-flat Major, D 593 ; Fantasy in C Major (“Graz Fantasy”), D 605 A ; March in E Major, D 606 ; Hungarian Melody in B Minor, D 817 ; Allegretto in C Minor, D 915

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  • Haydn – Complete Piano Sonatas Vol.3

    #html-body [data-pb-style=K7W57DH]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Joseph Haydn (Composer)Complete Piano Sonatas III
    Ανάμεσα στο εκτεταμένο έργο του Haydn είναι ένα σχεδόν ανεξάντλητο απόθεμα σονάτες για πιάνο. Με περισσότερα από 50 συνολικά έργα, αποτελούν ένα σημαντικό τμήμα της συνολικής παραγωγής του. Ένα από τα μεγάλα επιτεύγματα αυτού του συνθέτη είναι ότι σε αυτές τις σονάτες –όπως και σε πολλά άλλα είδη, όπως οι συμφωνίες και τα κουαρτέτα εγχόρδων– ο Haydn γεφυρώνει διαφορετικές στιλιστικές εποχές και βάζει τον θεμέλιο λίθο για την κλασική σονάτα για πιάνο.Ο τόμος III ξεχωρίζει για τα έντεκα αξιολάτρευτα και σημαντικά κομμάτια του. Πέντε από αυτά είναι σε δύο κινήσεις, συμπεριλαμβανομένης της Σονάτας που παίζεται συχνά σε σολ μείζονα Hob.XVI:40.Τα έντεκα κομμάτια είναι όλα αριστουργήματα, μεταξύ των οποίων η ελάσσονα Sonata Hob.XVI.34, η E-flat major Sonata Hob. XVI:49 και μια δεύτερη E-flat Major Sonata (γραμμένη στην Αγγλία), Hob. XVI:52, αξίζουν ιδιαίτερης προσοχής.
    Περιεχόμενα:
    Sonata D major Hob. XVI:33Sonata e minor Hob. XVI:34Sonata G major Hob. XVI:40Sonata B flat major Hob. XVI:41Sonata D major Hob. XVI:42Sonata A flat major Hob. XVI:43Sonata C major Hob. XVI:48Sonata E flat major Hob. XVI:49Sonata C major Hob. XVI:50Sonata D major Hob. XVI:51Sonata E flat major Hob. XVI:52

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  • G. Henle Verlag Schubert – Klaviersonaten Vol. 1

    Schubert’s 22 piano sonatas sketch a very illuminating picture of the prematurely departed composer’s compositional path. From the first essays of the gifted young 16- to 19-year old, one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826, and finally to the three masterworks written shortly before his death, which place him on a level with Beethoven as a composer of sonatas. Volume I of the three-volume Henle Urtext edition of Franz Schubert’s piano sonatas contains seven sonatas from the two earlier periods as well, which all became known with opus numbers. Only two were published during Schubert’s lifetime. The book opens with what is no doubt the best-known sonata of these two periods, the A-major Sonata D 664 op. post. 120. Given the length of time between the composition of each – 1817, 1823, 1825 – the works present a great diversity of forms and expression.

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  • Mozart – Adagio & Rondo KV617

    A genuine discovery! Written at the same time as the Magic Flute, this is Mozart’s final piece of chamber music. Anyone lacking a glass harmonica should try it with a piano or a harp (it has even been heard with a marimba!). It’s worth the effort, and Henle’s scholarly-critical urtext material offers a 100% reliable musical text.

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  • Schumann – Sonata fis-Moll Op.11

    Following Schumann’s first, evidently unsuccessful attempt at composing a “Sonata” – he only had the opening movement published under the title “Allegro in b Minor” – he tried once again in 1833. It is a well-known fact that this sonata was composed while he was in close contact with Clara Wieck, who was thirteen at the time. Individual motifs from it can be found later in Clara’s work; but by the same token, individual figures can be found in the sonata which point to Clara’s “Pièces caractéristiques”, Op. 5. in addition Schumann used an almost literal adaptation of his song “To Anna” for the second movement. We have included this in the appendix of our edition and in so doing show the roots of this composition.

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  • Flotenmusic, Band 2

    Schröter: Flute Sonata in F Major
    Op. 4, No. 2 ; Wendling: Flute Sonata e Minor
    Op. 4, No. 5 ; J.G. Nicolai: Flute Sonata in G Major
    Op. 6, No. 1 ; Vaňhal: Flute Sonata in A Major,
    Op. 10 No. 4 ; F.W. Benda: Flute Sonata in E MajorOp. 5
    No. 3 ; Hoffmeister: Flute Sonata in D Major, Op. 21
    No. 1 ; Devienne: Flute Sonata in G Major
    Op. 58, No. 5
     
    Pages:173Language:English,GermanPublisher:Henle Verlag

    Flotenmusic, Band 2

    30,1033,40

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  • G. Henle Verlag Schubert – Piano Sonatas, Volume II

    Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826, and finally to the three masterworks written shortly before his death, which place him on a level with Beethoven as a composer of sonatas. Volume II of the three-book Henle Urtext edition contains not only the G major Sonata D 894 op. 78, with its glorious piano writing full of delicate expressiveness, but also the three great sonata masterpieces in c minor, A major and B flat major, with which Schubert looks far into the future and which have long since taken their place in the classical canon of piano sonata literature.
    For
    Piano
    Musical Editions
    Piano score (Urtext edition)
    Item no.
    401114
    Author / Composer
    Franz Schubert
    Editor
    Paul Mies
    Level
    advanced
    Languages
    german, english, french
    Scope
    127 pages; 23 × 30.5 cm

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  • Haydn – Complete Piano Sonatas Vol.2

    #html-body [data-pb-style=HNSVCLE]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Ανάμεσα στο εκτεταμένο έργο του Haydn, οι σονάτες για πιάνο αποτελούν έναν αστείρευτο θησαυρό. Με περισσότερες από 50 σονάτες, αυτές οι συνθέσεις καταλαμβάνουν ένα σημαντικό μέρος της συνολικής του δημιουργίας. Ένα από τα μεγαλύτερα επιτεύγματά του είναι η ικανότητά του να γεφυρώνει διαφορετικές στιλιστικές εποχές, τόσο στις σονάτες του όσο και σε άλλα μουσικά είδη, όπως οι συμφωνίες και τα κουαρτέτα εγχόρδων, καθιερώνοντας έτσι τα θεμέλια της κλασικής σονάτας για πιάνο.
    Ο Τόμος ΙΙ περιλαμβάνει τρεις σειρές από έξι σονάτες, που συνέβαλαν στη διάδοση του Χάιντν στο ευρύ κοινό, είτε μέσα από έντυπες εκδόσεις είτε μέσω επαγγελματικών αντιγράφων. Αυτές οι συλλογές, χρονολογούμενες από τη δεκαετία του 1770, περιέχουν μερικές από τις πιο γνωστές και αγαπημένες του σονάτες, όπως εκείνες σε Ντο μείζονα, Ρε μείζονα και Σολ μείζονα (Hob. XVI:35, 37 και 27).
    Ξεχωριστή θέση κατέχει η σονάτα σε Ντο ελάσσονα, Hob. XVI:20, η οποία κλείνει τη συλλογή. Με το έντονο πάθος και την εκφραστικότητά της, προαναγγέλλει την τολμηρή μουσική γλώσσα του Μπετόβεν, αποτελώντας μια από τις πλέον εμβληματικές σονάτες του Haydn.

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  • Bruch – Violin Concerto G minor, Op. 26

    It made its creator world-famous and added a towering masterpiece to the standard repertoire: Max Bruch’s First Violin Concerto in G Minor. Bruch himself was not always overjoyed at his work’s popularity: “I can’t listen to this concerto anymore,” he once complained to his publisher Simrock, “do you suppose I’ve only written one concerto?” By now the Bruch Concerto has found a permanent place in the world’s concert halls. Henle’s edition provides not only a razor-sharp urtext for the solo part, but a preface that alone is worth the price of the volume: who could have guessed that the concerto went through a convoluted genesis with multi-layered revisions, and that some of the changes go back to the famous violinist Joseph Joachim?

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  • Schubert – String Quintet C major op. post. 163 D 956

    No music lover can remain untouched by the emotional quality of this work, composed by Schubert last year. The monumental weight of the outer movements, the intimate lyricism of the “Adagio”, as well as the unusual timbre, ensure the uniqueness of this quintet.
    An additional cello, which takes on an essential melodic role, joins the classical string quartet. The editor of our new Urtext edition, Egon Voss, not only does justice to the difficult source situation; with new and convincing solutions for difficult page turns, but he also takes into account the demands of musical practice.

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  • Chopin – Etudes

    #html-body [data-pb-style=K35JKBW]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Ο Chopin πέτυχε κάτι πραγματικά αξιοσημείωτο με τους δύο κύκλους των Σπουδών op. 10 και op. 25, που δημοσιεύθηκαν το 1833 και το 1837 αντίστοιχα. Μάλλον κανείς πριν από αυτόν δεν είχε συνθέσει κομμάτια τεχνικής πρακτικής που ταυτόχρονα έφτασαν σε τέτοια μουσικά ύψη. Οι Σπουδές του Chopin είναι κομμάτια χαρακτήρων γεμάτα ένταση, γραμμένα για την αίθουσα συναυλιών. Τα βιρτουοζικά έργα, συμπεριλαμβανομένων των μακροχρόνιων επιτυχιών όπως το «Revolutionary Etude» op. 10 αρ. 12 ανήκουν στο βασικό ρεπερτόριο του πιανίστα. Εκτός από τους δύο κύκλους op. 10 και op. 25, αυτή η έκδοσή Urtext περιέχει επίσης τρεις Σπουδές χωρίς αριθμό opus, τις οποία ο Chopin συνέθεσε για μια παριζιάνικη μέθοδο πιάνου το 1840.
    Περιεχόμενα:
    Etude a minor op. 10,2Etude A flat major op. 10,10Etude C major op. 10,1Etude C major op. 10,7Etude C minor op. 10,12 [Revolution]Etude c sharp minor op. 10,4Etude E major op. 10,3Etude E flat major op. 10,11Etude e flat minor op. 10,6Etude F major op. 10,8Etude f minor op. 10,9Etude G flat major op. 10,5Etude a minor op. 25,11Etude a minor op. 25,4Etude A flat major op. 25,1Etude c minor op. 25,12Etude c sharp minor op. 25,7Etude D flat major op. 25,8Etude e minor op. 25,5Etude F major op. 25,3Etude f minor op. 25,2Etude G flat major op. 25,9Etude g sharp minor op. 25,6Etude b minor op. 25,10Etude A flat major KK IIb, 3,2Etude D flat major KK IIb, 3,3Etude f minor KK IIb, 3,1

    Chopin – Etudes

    31,9035,40

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  • Beethoven – Quintet E flat major op. 16

    Works for or with wind instruments (then called “Harmonie” in German) were an extraordinarily popular genre in the Viennese Classical era. Beethoven also created a number of works that call for wind instruments, including his Piano Quintet op. 16 in E flat major. It was written in 1796 while Beethoven was on his concert tour to Prague and Berlin.
    Unmistakable are the parallels with Mozart’s corresponding Quintet K. 452, both in the key and in the sequence of single movements. The grace and serenity that stamp the work recall the model particularly favoured by Beethoven. That he himself had a soft spot in his heart for this work emerges from the fact that he repeatedly placed it on the programs of his concerts as a pianist, and also arranged it as a quartet for piano and three-stringed instruments.

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  • Haydn – Concertante In Bb Maj

    “Sometimes the symphonies … are destined to showcase the musicians’ talents” – a music dictionary of the time thus commented on a new genre, the “Symphonie concertante”. The playful competition between the solo instruments proved very popular with the audience and sparked a rivalry among the concert organizers in the music metropolis London: Ignaz Pleyel received a great deal of praise for one such “concertante” and only four weeks later Haydn achieved great fame for Hob. I:105. This attractive work is now published in piano reduction so that it can be played without orchestral accompaniment. The performing material is published by Bärenreiter.?

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  • G. Henle Verlag Albeniz – Suite Espagnole Op.47 Βιβλίο για πιάνο

    Η “Suite espagnole” για πιάνο είναι σίγουρα το πιο δημοφιλές έργο του Albéniz. Αντανακλά τους πολλαπλούς ρυθμούς και μελωδίες από τις διάφορες ισπανικές περιφέρειες – και στο τελευταίο κομμάτι γίνεται αναφορά ακόμα και στην Κούβα. Στη συλλογή συμπεριλαμβάνεται επίσης και η πολύ αγαπημένη σύνθεση “Asturias”.
     

    Σελίδες: 66
    Γλώσσα: Γερμανικά/Αγγλικά
    Εκδόσεις: G. Henle Verlag

    ΠΕΡΙΕΧΟΜΕΝΑ
    Granada (Serenata)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 4)
    Cataluña (Curranda)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 4/5)
    Sevilla (Sevillana)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 5/6)
    Cádiz (Saeta)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 5)
    Asturias (Leyenda)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 6)
    Aragón (Fantasia)  Επίπεδο δυσκολίας (Πιάνο): Δύσκολο (Επίπεδο 6/7)
    Castilla (Seguidillas)  Επίπεδο δυσκολίας (Πιάνο): Δύσκολο (Επίπεδο 7)
    Cuba (Capricho)  Επίπεδο δυσκολίας (Πιάνο): Μεσαίο (Επίπεδο 6)

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  • G. Henle Verlag Schumann – Sonata f-Moll Op.14

    As is the case with quite a few of his works, there are two versions of Schumann’s opus 14 – a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision; the publisher of the first version was, however, delighted; he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition, which now also contains the complete early version, the editor Ernst Herttrich provides detailed information on both versions in an extensive preface and commentary.
    For PianoItem no. 401326Author / Composer Robert SchumannEditor Herttrich, ErnstPublisher / Producer Henle Verlag
    Pages: 123

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  • Beethoven – Piano Concerto op. 61a after the Violin Conc. op. 61

    LUDWIG VAN BEETHOVENPiano Concerto op. 61a after the Violin Concerto op. 61
    Very few musicians are aware of the fact that Beethoven arranged his violin concerto also as a piano concerto. It is only recently that some pianists have discovered this truly rewarding work. Clementi, the London composer and publisher, had heard about the première of the violin concerto and probably sensed its potential. He asked Beethoven for a piano version, which was actually also published in 1808, at the same time as the original. Several important cadenzas had been especially composed for it; the one for the first movement is accompanied by the timpani – a unique and original touch! Our edition (piano reduction and study score) contains the text from the Complete Edition of Beethoven’s Works.
    Piano reduction, Urtext Edition, paperbound2 Pianos, 4-handsTwo copies needed for performance

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  • Mozart – String Quintets Vol.1

    “Because I only need four parts to express everything” – Haydn is said to have replied thus when asked why he had not composed a string quintet. Mozart saw things differently. He applied himself to this genre six times, even giving important parts to the two violas.
    Following Volume II, which contains the three most often played quintets, we now warmly recommend Mozart’s first Quintet K. 174 to ensembles, before in 2008 the 3rd and final volume will be published. The editors were able to refer to the autograph, which is once again accessible. It shows Mozart’s intensive compositional work, resulting in the fact that he composed the minuet and finale of the work a second time. The first version of both movements is included in the appendix of our edition, enabling insightful comparisons.
    String Quintet B flat major KV 174
    Original Trio to the Menuet
    First, Rejected Version of the Finale

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  • Beethoven – Concerto for Piano and Orchestra No.3 C-moll Op.37

    Ludwig van Beethoven composed his five large piano concertos over a period of twenty-five years. When the composer sold his first two piano concertos in late 1800, he mentioned that he had even “better” ones which for the time being he was keeping for himself until he went on tour. He probably meant a concert tour with the just finished Third Piano Concerto in c minor, which is presented here in a piano reduction. The edition, of our customary Urtext quality, is arranged for practical use and based on the Beethoven Complete Edition, for which Beethoven’s autograph served as the source. The detailed editor’s preface – by Beethoven scholar Hans-Werner Küthen – concludes with valuable information about the edition.

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