cor g henle verlag Classement 2024

schwabe verlagsgruppe ag verlag al

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Das Augustinus-Lexikon ist sowohl ein Begriffs- als auch ein Real-Lexikon. In alphabetischer Reihenfolge erfasst es Begriffe, Personen und Sachen, die für Leben, Werk und Lehre Augustins von Bedeutung sind. Um grössere Zusammenhänge darstellen zu können, berücksichtigt das Lexikon nicht nur Augustins Biographie und Schriften, sondern bezieht auch seine kirchenpolitische Stellung, die Persönlichkeiten seiner Umgebung sowie den zeitgeschichtlichen Kontext mit ein. Wegen des kaum überschaubaren und von der Forschung erst teilweise aufgearbeiteten Einflusses Augustins auf die Nachwelt wird die Wirkungsgeschichte ausgeklammert. Die Artikel werden in deutscher, englischer oder französischer Sprache veröffentlicht. In anderen Sprachen abgefasste Artikel werden im Einvernehmen mit den Mitarbeitern in eine der drei Sprachen übersetzt. Pressestimmen: Hier entsteht ein künftiges Standardwerk, von Bedeutung über Augustin hinaus. Die Redaktion ist tadellos, die Darbietung insgesamt genügt höchsten Ansprüchen. Museum Helveticum / Ein Standardwerk, das höchsten Ansprüchen genügt. Kalksburger Korrespondenz / Le rythme soutenu de la publication de cette véritable encyclopédie augustinienne nous permet d'espérer pour bientôt d'autres fascicules aussi riches de contenu, non seulement pour la connaissance d'Augustin et de son ouvre, mais aussi du contexte ecclésial et intellectuel dans lequel il a évolué. Laval Théologique et Philosophique

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henle g nter joseph haydn

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In contrast to Mozart, Haydn was not a keyboard virtuoso. He certainly conducted his orchestral works from the harpsichord, and also performed his own piano sonatas, but any ambition to be a concertizing pianist was foreign to his nature. Thus “only” three piano concertos by Haydn have come down to us. The Concerto for piano and string orchestra Hob. XVIII:4 is full of spirit and the joy of playing. We know neither the occasion for which it was written, nor the year of its composition; the extensive preface to our edition of the playing score, with one string part each, discusses this in detail. As in the sources of the time, the solo part here also includes the bass line (with figures) for tutti sections. Axel Ruoff makes suggestions for the solo cadenzas required in movements 1 and 2; Haydn composed the cadenza for the concluding Rondo movement. This Urtext edition is based on the musical text of the Haydn Complete Edition, which is likewise published by G. Henle Publishers. The trade press applauds it: “In view of the scarcity of easier piano concertos, one can be thankful for this new edition, especially since it can be presented with a very small orchestra, perhaps even with a string quartet.”

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EAN: 9790201806839

henle g nter robert schumann

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“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 in the same letter she encouraged him to revise the last movement, 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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EAN: 9790201803319

henle g nter wolfgang amadeus

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"I would gladly have done some more fiddling, but I was accompanied so badly that it gave me the colic." Thus Mozart, writing to his father on 16 October 1777. He would probably have taken great pleasure in this new urtext edition, for the piano reduction is especially stylish and easy to play - unlike so many editions whose overloaded piano parts neglect the needs of the accompanist. The text of the solo part corresponds exactly to Mozart's own notation, and the cadenzas supplied by the Munich virtuoso Kurt Guntner are an authoritative and stylistically reliable bonus.

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EAN: 9790201806884

henle g nter joseph haydn

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It is not known exactly how many violin sonatas Joseph Haydn composed, since the authorship of several works attributed to him is uncertain. There is even some evidence that the present G major Sonata Hob. XV:32 may be Haydn’s only original work in this genre. The striking correspondence of its opening with the theme of the second movement from Wolfgang Amadeus Mozart’s Sonata in G major K. 301, which is likewise a two-movement violin sonata, could be regarded as a conscious quotation.

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EAN: 9790201804378

henle g nter fr d

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When Chopin gave his Opus 23 the title “Ballade” in the mid 1830s, he established the piano ballade as a new musical genre which was subsequently taken up by others, including Brahms, Liszt and Grieg. The idea of transforming a fictional, dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: “I have a new Ballade by Chopin. It seems to me to be one of his most brilliant (not most inspired) works.” This has been taken from the revised edition of the “Ballades” (HN 862). Detailed information on the genesis of this work and an evaluation of the sources can be downloaded free-of-charge.

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EAN: 9790201808673

henle g nter johannes brahms

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The Sonata in G major owes its epithet “Rain Song Sonata” to two melodies from Brahms’ “Rain Songs” op. 59 nos. 3 and 4 which are quoted at the beginning of the last movement. An ornamental leaf with the first 24 bars of the “Adagio” was recently re-discovered and has been reproduced as a facsimile in this edition. It shows the connection between the work and Clara Schumann and her youngest son. Felix, Brahms’ godson and a talented violinist, was seriously ill and died before the work was completed. In a letter of dedication on the reverse of the leaf, Brahms expresses his deepest sympathy and his best wishes. This single edition from the volume containing all of Brahms’ violin sonatas (HN 194) contains a preface by Wolfgang Sandberger, illuminating the genesis of the “Felix Sonata”.

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henle dvor k anton n

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Composé rapidement puis «fignolé» avec un soin méticuleux, le Concerto pour piano en sol mineur de Dvorák est l'une des oeuvres majeures de la littérature pour piano tchèque. Le compositeur l'écrit en 1876, en deux mois à peine, mais son travail de finition s'étend sur sept ans, jusqu'au premier tirage. Rien d'étonnant donc à ce que la partition manuscrite de Dvorák soit surchargée de modifications et de corrections. Son autographe, de 141 pages, reflète de façon frappante ce travail de composition extraordinairement complexe: outre la notation initiale en effet, il renferme diverses corrections effectuées au crayon, au crayon rouge et bleu, ou encore à l'encre rouge; en outre, quelques passages sont recouverts d'une nouvelle version.La partition se trouvait jusqu'en 1990 en possession des héritiers de Dvorák. À l'instigation du pianiste András Schiff et grâce à son généreux appui financier, nous présentons pour la première fois, sous la forme d'une reproduction de grande qualité comparable dans les moindres détails à l'original, le fac-similé complet de ce document musical. Il invite à découvrir et à revivre les différentes étapes du processus de composition. Et qui plus est, c'est un cadeau idéal pour 2004, l'«année Dvorák», (... mais aussi, bien sûr, pour après ...).

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EAN: 9790201832159

henle g nter wolfgang amadeus

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– Flötenstimme: Die Edition besorgte einer der renommiertesten Flötisten unserer Zeit: András Adorján. Seine Edition gibt den Text der Quelle wieder, wohlwissend, dass die Quellenbasis – Mozarts Autograph ist verschollen – dürftig ist. Eindeutige Fehler und Flüchtigkeiten der Quelle werden verbessert und durch Fussnoten oder Klammerung kenntlich gemacht.– Kadenzen und Eingänge: Sie stammen von einem der arriviertesten Mozart-Kennern, dem Musikwissenschaftler und Pianisten Robert D. Levin. Die vorgeschlagenen Kadenzen und Eingänge zeichnen sich dadurch aus, dass sich der Musizierende dank eines ausgeklügelten Verweissystems aus dem angebotenen Material immer wieder neue, "eigene" Kadenzen zusammenstellen kann; damit kommen Levin’s Vorschläge dem Improvisationscharakter von Kadenzen und Eingängen sehr nahe. Achtung: Die Kadenzen und Eingänge unterliegen dem Urheberrecht und sind weltweit geschützt (GEMA); bitte melden Sie ihre Benutzung in Aufführungen und Aufnahmen dem Verlag bzw. der GEMA. – Klavierauszug: Ihn hat der profunde Mozart-Kenner und renommierte Generalbassspezialist Siegfried Petrenz geschrieben. Er strebt einen gut klingenden, technisch nicht allzu anspruchsvollen Klaviersatz an, der sich deutlich von den verbreiteten, am Orchestersatz orientierten Klavierauszügen abhebt. Dadurch wird auch der typischen Unterrichtssituation Rechnung getragen, in der nicht unbedingt immer ein professioneller Korrepetitor die Flöte begleitet.

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EAN: 9790201806730

henle g nter johann sebastian

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The enormously beloved and often performed Trio Sonata BWV 1039, which Bach also arranged for gamba and harpsichord, is, next to the Trio Sonata from the Musical Offering, the only trio sonata by J. S. Bach whose authenticity is completely unchallenged. To allow an alternative performance using two violins the editor has provided authorized variants in small print.

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EAN: 9790201803296

henle g nter anton n

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Dvorák’s famous Symphony from the New World abounds in melodic turns and phrases that call up the atmosphere of “Indian melodies” and spirituals. Among them are pentatonic (five-tone) tunes, and syncopated rhythms. Tender melodies from this same sound-world also reside in this Sonatina for violin and piano op. 100, written during his first residency in America between 1892 and 1894, transforming the four-movement Sonatina into a charming chamber-music piece. Dvorák dedicated the work to his children Otilie (aged 15) and Antonin (10), and it is in keeping with the abilities of the young pianist daughter and little violinist son. Nevertheless, Dvorák writes: “grown-up adults should also be able to take enjoyment in these pieces in the same way that they can”. The carefully-prepared Henle Urtext edition boasts an extensive preface concerning the source materials, and is based on the autograph and the first edition published by Simrock.

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EAN: 9790201804132

henle g nter fr d

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Frédéric Chopin composed his piano trio when he was an 18-year-old student. About the performance of the trio on 31 August 1830 he wrote: “On Sunday we rehearsed the trio. Perhaps because I haven’t heard it for a while, I was very happy with myself (fortunate man!).” Incidentally, Robert Schumann also shared this opinion, writing in a review: “Is it not as noble as possible, more full of enthusiasm than any song ever written by a poet, original in the smallest detail as in the whole, every note music and life?” We agree with this verdict and recommend this trio in our new Urtext edition to all lovers of highly romantic chamber music.

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EAN: 9790201810683

henle g nter anton n

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In autumn 1895, after returning from New York once and for all, Dvořák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks he composed a new string quartet in G major. Together with the Quartet in A-flat major op. 105, it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes, while his motivic working shows him to be a master at the height of his powers. Even today, it seems almost as if we can feel the composer’s satisfaction with this work: “I am working so easily and it is going so smoothly that I could not wish it better”.

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EAN: 9790201810454

henle g nter ludwig van

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Flutists are always grateful for chamber music works that include their instrument as part of the original scoring. They can thus take pleasure in this Urtext edition of Beethoven’s Trio for piano, flute and bassoon, which is based on the text of the new Beethoven Complete Edition. Beethoven probably composed this virtuoso concertante Trio at the age of fifteen. Its unusual instrumentation can be explained by the fact that the piece was written for the aristocratic Westerholt-Gysenberg family. Baron Westerholt-Gysenberg played the bassoon, his son the flute, and his daughter, Maria Anna Wilhelmine, was Beethoven’s piano pupil. Enchanting chamber music!

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EAN: 9790201803432

henle g nter joseph haydn

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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.

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EAN: 9790201803586

henle g nter franz schubert

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Schubert only took ten days to write his String Quartet in G major, one of his truly monumental chamber music works. With its almost symphonic dimensions, this late quartet is reminiscent of his great String Quintet in C major. As divulged in a letter, Schubert actually wanted to “pave the way for the large symphony” with this quartet and several other chamber music works that he composed around the same time. Written in 1826, the quartet was not performed in public during the composer’s lifetime; and it was only published long after his death. Our Urtext edition with its accompanying study edition is therefore based on the surviving autograph.

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EAN: 9790201898506

henle g nter claude debussy

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Debussy composed this work in summer 1880 in Fiesole, Italy, when he was 18 years old. At the time he was the musical travelling companion of Nadescha von Meck, Tschaikowsky’s famous patroness. Most of the autograph material was thought to have been lost and was only discovered over 100 years later, in 1982, in the estate of Debussy’s pupil Maurice Dumesnil. When Henle published the first edition in 1986, the music world welcomed the trio with open arms. Ensembles rushed to play it, and numerous recordings followed. Although formal conventions prevail, the work displays a melodic freshness as well as inflections and phrases that are typical of Debussy.

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EAN: 9790201803791

henle g nter ludwig van

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Ludwig van Beethoven composed his five large piano concertos over a period of twenty years. His Fourth Concerto in G major op. 58, largely written in 1805/06, is here presented in a piano reduction for two pianos. This edition, in the quality one has come to expect from an Urtext, is based on the Beethoven Complete Edition and is designed for practical use. Indications of the instrumentation have been added to the second piano part for purposes of musical orientation. In his extensive preface, Beethoven researcher Hans-Werner Küthen discusses the special source situation of the Fourth Piano Concerto. This is the only one of Beethoven’s five concertos for which the autograph score has not survived. For this Urtext edition, this offered an incentive for a most exacting examination of all other extant sources.

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EAN: 9790201898049

henle g nter ludwig van

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For half a century Henle’s edition of the Beethoven sonatas – the “New Testament” of the piano repertoire – has been universally recognized as the standard starting-point for any serious study of these works. Now, with the publication of the three op. 31 sonatas in revised separate editions, we are raising the yardstick another notch: no less a musician than the pianist and conductor Murray Perahia has agreed, for the first time ever, to publish his fingerings and, as co-editor, to confide his profound insights into the sources to music lovers everywhere. The musical text has been prepared in strict accordance with the rules of modern Urtext editing, and the volume is rounded off with a lengthy and informative preface and detailed notes on sources and alternative readings. To be continued …!

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EAN: 9790201807546

henle g nter johannes brahms

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Brahms’s First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood”. So Brahms made overtures to other publishers, but then Simrock finally agreed to take it on. The critics were initially rather sceptical towards this Sextet op. 36, but Brahms’s friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colours. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.

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EAN: 9790201870830



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