fantasy horn op 88 Classement 2024

henle g nter robert schumann

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In 1849 Schumann turned to a new genre: works for piano and an accompanying instrument. The first work he composed were the Fantasy Pieces for Piano and Clarinet op. 73, immediately followed by the Adagio and Allegro op. 70. Clara played the new work together with the horn player E. Julius Schlitterlau, writing afterwards in her diary: "The piece is splendid, fresh and passionate, just as I like it!" Even Schumann himself was impressed with his new composition. He particularly drew the publisher Kistner’s attentionto the "brilliant allegro", whose solo part is indeed so virtuosic that opus 70 is one of the showpieces for horn players even today.

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EAN: 9790201810232

henle g nter ludwig van

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Both of these works for two oboes and cor anglais, which Beethoven composed in the 1790s, belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired by the prevailing popularity of this delicate combination of instruments. Likewise, with the Variations WoO 28 on the famous theme “La ci darem la mano” by Mozart, he made a contribution of his own to the arrangements of operatic melodies for wind ensembles that were so popular at the time. Our edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research on Beethoven.

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EAN: 9790201899473

henle g nter robert schumann

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In 1849 Schumann turned to a new genre: works for piano and accompanying instrument. He showered the different wind instruments systematically with Fantasies, Romances, etc. - and always also provided an alternative part for strings. Thus Schumann also wrote an alternative part for his Adagio and Allegro op. 70 for Horn and Piano, for the violin. Clara played the new work together with the horn player E. Julius Schlitterlau, writing afterwards in her diary: "The piece is splendid, fresh and passionate, just as I like it!" And even Schumann admitted enthusiastically that he "had had fun with it" - which is true of many musicians even today.

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EAN: 9790201810256

henle g nter robert schumann

Trouver informations, conseils et prix pour henle g nter robert schumann il est vendu 30.4 € , présent dans la catégorie Bücher & Zeitschriften, ce produit est fabriqué par Henle, Günter et est vendu par Orellfuessli.ch

In 1849 Schumann turned to a new genre: works for piano and accompanying instrument. He showered the different wind instruments systematically with Fantasies, Romances, etc. - and always also provided an alternative part for strings. Thus Schumann also wrote an alternative part for his Adagio and Allegro op. 70 for Horn and Piano, namely for the cello. Clara played the new work together with the horn player E. Julius Schlitterlau, writing afterwards in her diary: "The piece is splendid, fresh and passionate, just as I like it!" And even Schumann admitted enthusiastically that he "had had fun with it" - which is true of many musicians even today.

état: new
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frais de port: 3.5
le temps de livrer: in stock
EAN: 9790201810249

henle g nter ludwig van

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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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EAN: 9790201802220

henle g nter carl maria

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The horn is surely the most “romantic” of instruments, and it is a well-known fact that it plays a prominent role in Weber’s oeuvre. Der Freischütz and Oberon would be unthinkable without their horn calls, whether to signify yearning or the clarion call of the hunt. But Weber did more than give the instrument important solo parts in his operas; he also wrote a virtuoso concert piece that to this day is regarded as one of the most difficult in the whole horn repertoire – not least because the soloist has to play three-part chords (!) in the cadenza. This Henle Urtext edition is based on the autograph, the engraver’s copy (checked by Weber himself) and the first edition, and so offers the best possible musical text for those wishing to learn this highly effective virtuoso piece. The Preface also for the first time provides biographical details of Sebastian Rauch, the Munich horn player who commissioned this Concertino.

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EAN: 9790201811796

henle g nter anton reicha

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Reicha published a total of 24 wind quintets for the “classical” scoring of flute, oboe, clarinet, horn and bassoon; op. 88 no. 2 is one of the best-loved and most played. “If it were possible to surpass Haydn in the composition of quartets and quintets, Reicha would have succeeded with these quintets”; thus raved the “Allgemeine Musikalische Zeitung” on a performance of Reicha’s quintets, “it seems to me that it is impossible to unite more correctness and clarity with more inventiveness and originality.” This work exudes inspiration and spirit from every note. In addition to the parts, we have also produced a handy study edition of the score.

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EAN: 9790201808284

henle g nter alexandre guilmant

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Alexandre Guilmant was one of the greatest representatives of the French Romantic organ school, and composed almost exclusively for his instrument. A rare exception is this “Morceau symphonique”; written in 1902 for the Paris Conservatoire’s annual trombone class competition. The charming piece soon found its way into the repertoire – as did Saint-Saëns’s “Cavatine” (HN 1119) – and is today among the essential standard works of trombone literature. The “Morceau symphonique” is here offered in its first-ever Urtext edition, based on the autograph and the first edition. We also offer here a particularly special treat – the sight-reading piece that Guilmant wrote for the same competition.

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EAN: 9790201810904

henle g nter franz schubert

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The model for this composition was 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 shortly performed at Troyer’s afterwards. Today it is one of the most popular larger chamber music works.

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EAN: 9790201805627

henle g nter franz schubert

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The model for this composition was 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 shortly performed at Troyer’s afterwards. Today it is one of the most popular larger chamber music works.

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EAN: 9790201895628

henle g nter robert schumann

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In 1849 Schumann endowed three wind instruments with chamber music works: the clarinet with the “Three Fantasy Pieces” op. 73, the horn with the “Adagio and Allegro” op. 70 and the oboe with the present “Three Romances” op. 94. However, the “Three Romances” for oboe also appeared on the market at that time with a solo part for violin or clarinet. Violinists are certainly very happy that G. Henle Publishers have followed this idea of an alternative scoring. The manuscript, which Robert presented to his wife Clara as a Christmas gift in 1849, has not been preserved. However, it was possible to consult autograph drafts for our Urtext edition, which helped rectify many of the incongruities of the 1851 first edition.

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EAN: 9790201808161

henle g nter robert schumann

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“Something quite curious, I believe” – it was thus that Robert Schumann described the Concert Piece for four Horns and large orchestra in a letter, and he did indeed break new ground with this work as far as the scoring and treatment of the instruments was concerned. When it was composed in 1849, the French horn was still fairly new, enabling players to play previously unheard-of runs and free modulations, a fact which Schumann made the most of, particularly with his scoring for four horns. Even today the Concert Piece is the romantic work for horn par excellence and a benchmark for all soloists.

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EAN: 9790201811383

henle g nter ludwig van

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Even though the majority of Beethoven’s wind chamber music works were composed for specific occasions with prescribed scorings, their importance is not limited by their functional nature. Beethoven always aspired to treat the various genres in the most original way possible. Horn players can thus enjoy Beethoven’s Horn Sonata op. 17, which the composer wrote in 1800 for a concert in Vienna’s Hofburg Theatre for the most famous horn player of his day, Giovanni Punto (Johann Wenzel Stich). At that time, an alternative instrumentation was necessary for successful dissemination of the work, so this Urtext edition, like the first one, includes a violoncello part in addition to the one for horn.

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EAN: 9790201804989

henle g nter camille saint

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As with Schumann’s “Concert Piece for four Horns” op. 86 (HN 1138) Saint-Saëns’ “Morceau de Concert” was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player Henri Chaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players – although the “Morceau de Concert” did! The popular work with one movement is quite demanding technically; however, Saint-Saëns himself already suggested some abridgements and ossias to simplify the piece, meaning that also advanced pupils can venture to play it.

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EAN: 9790201812847

henle g nter felix mendelssohn

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“Favourite dish in exchange for favourite music” – this perfectly summarizes the genesis of the Konzertstücke. When the clarinettist Heinrich Joseph Baermann and his son Carl, who also played the basset horn, stopped to pay a visit to Felix Mendelssohn Bartholdy in 1832, they came to a most curious agreement: they promised their composer friend a generous portion of “Dampfnudeln” (steamed dumplings) and “Rahmstrudel” (sweet-cheese strudel) that Mendelssohn was mad about, if he were to write a piece for them which they could use on their concert tours. The Konzertstück in f minor that originated in this fashion was followed shortly afterwards by a second one in d minor. Both are extremely effective works which wonderfully bring out the unique sound and performance technique of the two instruments from the clarinet family.

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EAN: 9790201810676

henle g nter robert schumann

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In 1849, Schumann gifted chamber music works to three wind instruments: the clarinet with the “Drei Fantasiestücke” op. 73, the horn with the Adagio and Allegro op. 70, and the oboe with these “Drei Romanzen” op. 94. In the first Romance we have a ballade-like mood in a minor. The second romance resembles a song without words, and is in A major, while the finale, with its calling motifs and piano arpeggios, recalls the popular poems of Northern Europe of the time. Composed in December 1849, the Romanzen were presented to Schumann’s wife Clara as a Christmas present. This manuscript does not survive, but it has been possible to consult some autograph sketches for our Urtext. The editor’s preface and commentary provide extensive information about the sources and the textual problems encountered.

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EAN: 9790201804279

henle g nter johannes brahms

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This Trio’s unusual scoring for horn, violin and piano prompted speculation early on about a possible background to it that had no connection with music. Brahms’s biographer Max Kalbeck saw in it a lament for the composer’s mother, recently deceased, to whom he had supposedly played folk songs on the horn in his childhood. There is no doubt that Brahms loved the sound of the natural horn, and bestowed several of his most inspired melodies on the instrument. Horn players justifiably adore this Trio op. 40, and this Henle Urtext edition now offers an optimal basis for studying and performing this masterpiece. This edition follows the musical text of the New Brahms Complete Edition and thus guarantees the greatest fidelity to the sources and reflects the current state of research. The pianist Klaus Schilde has added helpful fingerings to the piano part. Extra parts are also provided for the alternative scoring authorised by Brahms (with viola or cello instead of horn). Read more about this edition in the Henle Blog.

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EAN: 9790201808116

henle g nter alexander glasunow

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As a composer, Alexander Glazunov was as at home in the late Romantic symphony as he was in chamber music forms. His shorter solo pieces impress on account of their enchanting melodies and their attention to detail, which is also true of the Rêverie for horn and piano. Glazunov was himself a good horn player and played in several orchestras as a young student. It was at this time that Glazunov composed this highly romantic work in which he showed off the melodious qualities of this instrument to their best advantage. It is an effective recital piece, even for advanced pupils, and is being published for the first time as an Urtext edition; alongside the first edition we also consulted Glazunov’s autograph in the National Library of Russia in St Petersburg for the first time.

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EAN: 9790201812854

henle g nter johann nepomuk

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Hummels “Potpourri” for Viola and Orchestra op. 94 is part of every viola player’s core repertoire, especially in its shortened version, the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited, newly composed passages, the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Tabea Zimmermann has drawn upon her extensive experience in providing fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Read more about this edition in the Henle Blog.

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EAN: 9790201808383

henle g nter johann nepomuk

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Hummels “Potpourri” for Violoncello and Orchestra op. 95 is part of every violoncello player’s core repertoire, especially in its shortened version, the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited, newly composed passages, the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Sebastian Hess has provided fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Hummel produced this version in addition to the original edition for viola. The version presented here was out of print for many years, but we have now made it available again.

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EAN: 9790201808390



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