Joseph Haydn: String Quartets Op.20 And Op.33 (Critical Notes)

Critical notes on Joseph Haydn's String Quartets Op.20 And Op.33 as compiled by Georg Leder.

Franz Joseph Haydn: Streichquartette Op.20 (Urtext Score)

Joseph Haydn's String Quartets Op.20 were composed in 1772 according to the date of the autographs. They are the last group in the series of string quartets with the opus numbers 9, 17, 20, composed a long time after the early string quartets, in the years around 1770. Following these compositions, several years were to pass before once again before Haydn wrote his next string quartets for a long while following completion of Op.20 does not necessarily imply that he was having a 'crisis'; it might have had to do with the increasing load on Haydn occasioned by the regular performances at the Eszterhaza opera house, leaving him with little time for other activities.

Franz Joseph Haydn: String Quartets Book IV - Sun Quartets Op. 20

The preface by Christin Heitmann provides illuminating background information. Haydn did not assign the nickname “ Sun Quartets ”: it alludes to an edition of the time, in which the title page was decorated with a rising sun. The Quartets op. 20 are the last series in a group of earlier string quartets, but are clearly ahead of their time. The demanding fugues which close three of the six quartets are a particular structural feature. The study edition HN 9208 complements the parts of the String Quartets op. 20 .

Max Reger: Five Humoresques for Piano op. 20

Reger ’s “ Five Humoresques “ follow in the footsteps of the nineteenth-century genre inaugurated by Robert Schumann’s “Humoresque“, op. 20. Occasionally Reger gives vent to high-spirited good humour, as when he quotes a hit tune from his own day, “ Du bist verrückt mein Kind “ (“You’re crazy, my child”). The Piano writing is imaginative, brilliantly pianistic, and harmonically rich. Our volume forms yet another addition to our series of Reger ’s piano music.

Franz Joseph Haydn: Piano Sonata In C Minor Hob. XVI:20 (Henle Urtext Edition)

Haydn ‘s C Minor Piano Sonata (Hob. XVI:20) has been called, by the leading Haydn scholar Lászlo Somfai, the most significant Piano piece between Bach‘s death and Mozart‘s mature Viennese sonatas. Peter Gradenwitz goes so far as to place it "at the head of the series of great Piano sonatas of all time," and Ulrich Leisinger devotes an entire chapter to it in his exhaustive study on the subject. Indeed, with its deep expressivity and its novel and more intensive handling of dynamics, this sonata marks a breakthrough in Haydn ‘s Fortepiano style. Now the C Minor Sonata is available in an inexpensive single edition. The musical text is taken from volume 2 of the Complete Piano Sonatas (HN 240) and volume 1 of the Selected Sonatas (HN 152).

Béla Bartók: Improvisations On Hungarian Peasant Songs Op. 20

After his 15 Hungarian peasant songs (HN 1404), these Improvisations on Hungarian peasant songs are the second of Bartók’s works to feature the words “Hungarian peasant songs” in their title. The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók himself as venturing to “the outermost limits”. He also breaks up the song structures so radically into their constituent motives that the title “improvisations” best conveys his approach to this folk music. The musical text of this Urtext edition, edited by Bartók expert László Somfai, is taken from the relevant volume of the Bartók Complete Edition. Comments at the close of this edition offer important hints on performance practice.

Robert Schumann: Humoresque In B Flat Op.20 - Revised Edition (Urtext)

Do you not know Jean Paul, our great writer? I have learnt more counterpoint from him than from my music teacher. Jean Paul's "Vorschule der Ästhetik" with its extensive treatment of humour probably occasioned Schumann to think of giving a Piano work the title "Humoreske" ? thus giving birth to a new musical genre. The "romantic humour" is not, however, aimed at humour in a modern sense of the word, but rather at a portrayal of the fragility and contradictory nature of the human condition. As if in a kaleidoscope, Schumann juxtaposes the most diverse elements of form and moods. Ernst Herttrich's revision reflects the latest scholarly findings for this unusual work.

Pablo De Sarasate: Gypsy Airs Op. 20 For Violin And Piano

Composed in 1877, the Gypsy Airs are in the form of a broadly conceived Hungarian Csárdás, exhibiting all of the refinement of breakneck Violin playing. They still present a challenge to all great violinists.Spanish composer Pablo De Sarasate's unique Violin technique enthralled the public right from the start. So it was no surprise that Sarasate composed highly virtuosic pieces for his own use.

Franz Joseph Haydn: String Quartets op. 20 and op. 33, Volume 3

Pocket umbrella: "Raindrop Prelude"

Keep yourself dry from the rain with this blue/silver windproof, pocket umbrella.The frame is made of aluminium and fibre glass.88 cm in diameter when opened, measures 17 cm when folded, weight 170 g.

Jan Hugo Vorisek: Ausgewahlte Klavierwerke

Jan Hugo Voříšek (1791–1825), born the year that Mozart died, is, we believe, the one who stands out amongst the Bohemian composers at the time of Beethoven. He is currently enjoying a well-deserved renaissance. Our edition of selected Piano works, edited by Dana Zahn, focuses on shorter pieces (Impromptus, Fantasy, Variations), but also contains a real gem: the B minor Piano Sonata “Quasi una Fantasia” (op. 20) .

Johannes Brahms: Scherzo In E Flat Minor Op.4

Johannes Brahms was not even 20 years old when he wrote The Scherzo Op.4 in 1851. The young composer and pianist used it as a kind of 'calling card' to introduce himself to influential musicians. He also played the Scherzo to the Schumanns several times in 1853, and thus might have inspired his older colleague to write the famous article ?Neue Bahnen? (New Ways). In it, Schumann praised ?single piano pieces, some of them turbulent in spirit while graceful in form?.

Edvard Grieg: Lyric Pieces Book III Op.43

The extraordinary popularity of the first two books of Lyric Pieces (opp. 12 and 38) was interpreted differently by Grieg and his publisher. Whereas Grieg would have liked to call his third book “Spring Songs,” so as to counteract the impression of a serial publication, the publisher recommended keeping the Lyric Pieces “brand name” and he got what he wanted. Huge and long-lasting success quickly followed: some 20 years later the publisher proudly reported to Grieg that his Lyric Pieces, especially opp. 12 and 43, were selling “like hot cakes”.

Frederic Chopin: Nocturnes (Henle Urtext Study Score)

Time and again, Chopin succeeded in giving different Piano music genres their own individual characters, whether etudes, preludes, waltzes, scherzi or Nocturnes . The Irishman John Field had already composed over 20 nocturnes, which presumably greatly influenced Chopin . The latter continued to develop the light, song-like Piano writing and created works whose dreamy, longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously, including the famous Lento con gran espressione in c sharp minor – in two authentic versions.

Frederic Chopin: Nocturnes

Time and again, Chopin succeeded in giving different Piano music genres their own individual characters, whether etudes, preludes, waltzes, scherzi or Nocturnes . The Irishman John Field had already composed over 20 nocturnes, which presumably greatly influenced Chopin . The latter continued to develop the light, song-like Piano writing and created works whose dreamy, longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously, including the famous Lento con gran espressione in c sharp minor – in two authentic versions.

Ludwig Van Beethoven: Trio In C Op.87 - Study Score (Strings)

Around 1800 Beethoven seems to have completely distanced himself from chamber music for wind. In letters to his publisher we read that he did not have any particular regard for his Septet op. 20 and the Sextet op. 71; furthermore, he did not write any new works for wind ensembles.By contrast, he ennobled his Trio op. 87 ? originally for two oboes and cor anglais ? by making an additional version for two violins and viola. This charming work is published following the Urtext in the Beethoven Complete Edition and is a welcome addition to the repertoire for these instruments for which a great deal has not otherwise been composed.

Ludwig Van Beethoven: Trio In C Op.87 - Parts (Urtext Edition)

Around 1800 Beethoven seems to have completely distanced himself from chamber music for wind. In letters to his publisher we read that he did not have any particular regard for his Septet op. 20 and the Sextet op. 71; furthermore, he did not write any new works for wind ensembles.By contrast, he ennobled his Trio op. 87 ? originally for two oboes and cor anglais ? by making an additional version for two violins and viola. This charming work is published following the Urtext in the Beethoven Complete Edition and is a welcome addition to the repertoire for these instruments for which a great deal has not otherwise been composed.

Johannes Brahms: Streichquartett Op.51 (Henle Urtext Edition)

Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that “stuff”) before he finally presented his Opus 51 to the public. In the end only three surviving works managed to withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate, dark Quartets Op. 51 separately from the rather more lively Opus 67. The basis for this edition is the volume in the New Complete Edition of Brahms ’ works, published in 2004 by Henle, for which previously missing sources in a Swiss bequest were consulted for the first time.

Johannes Brahms: Streichquartett Op.67 (Henle Urtext Edition)

Brahms had already composed over 20 String quartets (he confessed to a friend that he had burnt all of that “stuff”) before he finally presented his Opus 51 to the public. In the end only three surviving works managed to withstand his high self-criticism; numerous layers of corrections bear witness to his struggle with each detail. We are now publishing the two passionate, dark Quartets Op. 51 separately from the rather more lively Opus 67 . The basis for this edition is the volume in the New Complete Edition of Brahms ’ works, published in 2004 by Henle, for which previously missing sources in a Swiss bequest were consulted for the first time.

Robert Schumann: Toccata Op.7 - Versions 1830 And 1834 (Henle Urtext)

Schumann began work on the Toccata Op.7 when he was only 20 years old. At the time he was studying law, following his family's wishes. He did not, however, intend to have his first manuscript, entitled "Exercice", published; it was only when he was finding his way as a musician that he turned to the sketches again. Similar to his approach with the Paganini studies, he endeavoured to combine virtuosity with musical content. The print version of this "Toccata" differed greatly from the first ideas for the "Exercice". The autograph of the final version is missing, although the "Exercice" has survived in the form of Schumann's manuscript. It is reproduced in the appendix of this revised edition of the first publication.

Johannes Brahms: Piano Sonata In C Op. 1

Composed at the start of his career in 1852-3, Johannes Brahms ' Piano Sonatas were amongst the 20-year-old composer's first publications. It is the slow movement of the Piano Sonata In C Major Op.1 , which uses the song 'Verstohlen geht der Mond auf', that bears the earliest date, April 1852. With this passionate and highly virtuosic Sonata, Brahms introduced himself to the great of the musical world of his day, including the Schumanns in Düsseldorf. Clara Schumann wrote afterwards that ' ... the whole is full of exuberant fantasy, intimacy of expression and mastery of form '. Brahms ' Op. 1 now appears in a separate Henle Urtext edition, revised using the musical text of the Brahms Complete Edition. The sonatas Op. 2 and Op. 5 will follow.

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations, Beethoven sometimes lets the piano appear alone, and sometimes has it rest. In places the mood is that of a sort of funeral march, and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio”, the later of the two, was a reworking by Beethoven himself of his op. 20 Septet. He provided as also in the case of op. 11 an alternativeviolin part, in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition, which just as back then- makes it doubly valuable.

Ludwig van Beethoven: Piano Trios, Volume III

In the Classical period, and well into the 19th century, piano trios were something of a musical fashion accessory. There was thus good reason for Beethoven also to engage with the genre, following the example set by Haydn and Mozart. He left 13 piano trios in all. +B107The works contained in Volume III almost all present a few peculiarities: opus 44 is also not a complete trio, for instance, but consists of only one single variation movement! WoO 37, written while Beethoven was still in Bonn, is striking for its scoring (piano, flute and bassoon). He wrote WoO39 for Maximiliane, youngest daughter of the Brentano family, “to encourage her piano playing”. Op. 38 is anarrangement of the Septet op. 20 for piano, clarinet and violoncello, and the last piece has come down to us only in one sketchbook from Beethoven’s Bonn period. None of these works has the weight of Beethoven’s major piano trios, nevertheless, they remain witnesses to his supeme artistry.

Franz Schubert: Octet In F major D 803 - Ensemble Parts (Henle Urtext Edition)

**Not for sale outside of the UK and Commonwealth** Franz Schubert 's Octet In F major D 803 for Clarinet (B flat/C), Bassoon, Horn (F/C), 2 Violins, Viola, Violoncello and Double Bass. This composition was modelled on Beethoven’s Septet op. 20, whose Divertimento character and six-part layout were adopted by Schubert , although he merely expanded the instrumentation by adding a second Violin. In a letter he numbered his octet amongst the chamber music works with which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer, who had a musical salon in Vienna and played the Clarinet. We only know that Schubert composed the work at the beginning of 1824, taking only a few weeks to do so and that it was performed at Troyer’s shortly afterwards. Today it is one of the most popular larger chamber music works.

Johannes Brahms: Piano Trios

Piano trios belong among the great genres of Classical chamber music, and Brahms , too, turned his attention to this genre early on. He wrote his opus 8 in fall and winter 1853/54, thus at the age of 20. The two other piano trios were created 28 years later, namely op. 87 in C major, and 32 years later, op. 101 in c minor. Brahms was working on another Trio, in E flat major, at the same time that he was working on the C major Trio, however, it seems to have been destroyed. He returned to his first piano trio in 1889 and revised it so thoroughly that he wrote to Clara Schumann: “I have re-written my B major trio.” The Henle Urtext edition reproduces the second version of the Trioop. 8 (published in 1891) first, then follows this up with a reprint of the first version in its Appendix.