String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

W.A. Mozart: Violin Concerto No.3 In G K.216 (Violin/Piano)

An Urtext edition of W.A. Mozart's Violin Concerto No.3 In G K.216, as edited by Wolf-Dieter Seiffert, with Piano reduction by Siegfried Petrenz, and fingering, bowing, cadenzas and lead-ins by Kurt Guntner.

Sergei Rachmaninow: Prélude C Sharp Minor Op.3 No.2

Prélude C Sharp Minor Op.3 No.2 is possibly Sergei Rachmaninow 's most famous late romantic Piano work and is now finally available as a Henle Urtext edition. First published in 1892, as part of the Piano cycle 'Morceaux de Fantaisie' Op. 3, the work soon became well known abroad, in particular due to the concert tours given by the pianist Alexander Siloti, Rachmaninow ’s cousin. Even Rachmaninow himself was soon no longer able to perform any concerts in America without someone in the audience crying out 'C sharp minor!' at the end. The thundering chords of the final part of this work are legendary and at the same time not as unplayable as one might have been led to believe.

Haydn-Studien Bd. 3 Heft 3/4 : Haydn Studies Vol.3 No. 3/4

Briefwechsel Band 3 : Briefwechsel Band 3

This complete edition of Beethoven's correspondence has been edited by Sieghard Brandenburg on commission from the Beethoven House in Bonn. It forms a milestone in the study of Beethoven, being the first complete edition in Germanto be compiled and fully annotated in accordance with modern scholarly-critical criteria. The edition includes all of Beethoven's known letters (1,789 items of primary correspondence), all obtainable letters written to him (370items of secondary correspondence) and numerous documents written on Beethoven's behalf by third parties (163 items of tertiary correspondence). It provides the text in a diplomatic transcription critically corroborated againstthe original sources, including deleted passages, addresses and drafts. The texts are presented in chronological order in six volumes and are made readily accessible by a seventh volume containing indices of names, places, works,senders, recipients, and text incipits as well as a list of sources and concordances to other editions of Beethoven's letters.

Overture no. 3 for the Opera "Leonore" (1806)

For his only opera Leonore/Fidelio, Beethoven wrote four overtures in total. Chronologically, the so-called Leonore Overture no. 3 is the second of the series and perhaps the most performed of all Beethoven’s overtures. During his own lifetime, it was heard not only in the theatre, but also in concert, thereby establishing with the Coriolan and Egmont overtures the new genre of the concert overture. Recognised around the middle of the nineteenth century as a masterpiece, it went on to become the “declared favourite of all orchestras,” as Beethoven biographer Anton Schindler testifies. It now appears as astudy score based on the musical text of the Beethoven Complete Edition, with its own specially prepared foreword.

Quartet movement in D minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

Quartet Movement in C Minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

Haydn-Studien Einb.-Decke 3 : Haydn Studies Cover 3

Die Schöpfung, Hob. XXI:2 - Band 3-3 : Third part, Sketches

Masses No. 3 - 4

Ungarische Rhapsodie Nr. 3

Haydn-Studien Bd. 5 Heft 3 : Haydn Studies Vol. 5 No. 3

Haydn-Studien Bd. 6 Heft 3 : Haydn Studies Vol. 6 No. 3

Haydn-Studien Band 8 Heft 3 : Haydn Studies Vol. 8 No. 3

Haydn-Studien Bd. 2 Heft 3 : Haydn Studies Vol. 2 No. 3

Haydn-Studien Bd. 3 Heft 1 : Haydn Studies Vol. 3 No. 1

Haydn-Studien Bd. 3 Heft 2 : Haydn Studies Vol. 3 No. 2

Haydn-Studien Bd. 1 Heft 3 : Haydn Studies Vol. 1 No. 3

Double Bass Concerto op. 3

Die Jahreszeiten Hob Xxi 3

Double Bass Concerto op. 3

Morceaux de Fantaisie Opus 3

Alexander Zemlinsky: Clarinet Trios D Minor Op. 3 For Piano, Clarinet (Violin) And Violoncello

Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier, inspired hit, the Trio For Clarinet Op. 3 , written in 1896, owes a great deal to Zemlinsky ’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who, following its first performance in Vienna, enthusiastically recommended the trio to his publisher Simrock. As the autograph has disappeared, Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous, partly blatant engraver’s errors. Alongside the Piano score, Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.