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The viola is often not credited with being able to take over a soloistic role – but this is completely unjust. In 1738 Johann Philipp Eisel already wrote of the viola as being the “very bowels of music” and stressed that it was not only needed to “flesh out” the orchestral sound but also as a “concert voice, which is fully proven by the concertos and concert overtures by the famous Capell-Meister Telemann”. Telemann’s Concerto in G major is considered to be one of the earliest works for solo viola and orchestra and forms part of the core repertoire for pupils and students. In our Urtext piano reduction the specialist Kai Köpp has provided information regarding historical performance practice.
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“Methodical” was how Telemann’s six sonatas were described when they were published in 1732, because they included a second, ornamented version of the simple melody line of the solo instrument for the slow opening movements and for the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play, and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointed new edition is the only one to evaluate all available sources. It has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score, which also features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as Henle Urtext editions.
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Telemann’s sonatas, published in 1728, are “methodical” according to the meaning of the word in his own day, since in addition to the plain melody line given to the soloist in the first movements they also provide an ornamented variant each time. We commend this instructive and, at the same time, very enjoyable music to today’s flautists and violinists. Our luxurious new publication is the only one to evaluate all available sources. It has a solo and basso-continuo part in which the two instrumental lines are aligned for orientation, plus another part that gives only an unrealised (but figured) bass line. The Henle edition also includes a full score with a stylistically appropriate continuo realisation. Read more about this edition in the Henle Blog.
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Online-tutorial available at Henle Masterclass Aside from the Partita in a minor by Johann Sebastian Bach (HN 457) and the Sonata in a minor by his son Carl Philipp Emanuel (HN 555), it was also mainly Telemann’s 12 Fantasias that enriched the solo flute repertoire in the first half of the 18th century. Telemann’s cycle evidently had a great influence on the flautist’s world. The composer had his Fantasias published in 1727 (he might even have engraved the edition himself). The work was soon considered to be exemplary and caught on. Our edition is based on Telemann’s print, which we have also reproduced as a facsimile in the edition. The flute expert Rachel Brown has provided a commentary with details regarding performance practice.
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In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music - a world he would enter with a bang in 1924 with his “Rhapsody in blue”. He prepared himself for this by taking an intensive course in composition, during which he wrote this brief “Lullaby” for string quartet as an exercise, probably in 1919. He liked its catchy melody so much that he later used it again in his one-act “jazz opera” “Blue Monday Blues”. “I find the piece charming and kind”; wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world was given a second lullaby by this American composer - one worthy to stand alongside his famous “Summertime” from “Porgy and Bess”.
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Découvrir informations, conseils et prix pour henle g nter georges bizet vendu 41.9 € , est placé dans la catégorie Bücher & Zeitschriften; ce produit est fabriqué par Henle, Günter et est vendu par Orellfuessli.ch
Georges Bizet was not eminent as a piano composer, for the number of his piano works is small and not very substantial in terms of form, content and character. Yet there is an exception: the “Jeux d’enfants” for piano four hands from 1871. In this loosely-connected series of twelve short and very terse genre pieces Bizet crafted a charming masterwork. With an unpretentious simplicity that is full of French ‘esprit’; he creates a unique and distinctive mood in each of the miniatures and the textural-harmonic means employed already point in the direction of Ravel and Debussy! Unfortunately, much of his compositional audacity was smoothed out in the first edition of 1872, making it all the more important that our Urtext edition also takes Bizet’s autograph into account. The preface and comments go into detail about all the discrepancies of the first edition, thereby offering a fascinating glimpse into publishing history.
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Découvrir conseils, opinions et fonctionnalités sur henle g nter georg friedrich vendu 15.4 € , ce produit est placé dans la catégorie Bücher & Zeitschriften, fabriqué par Henle, Günter et est vendu par Orellfuessli.ch
These variations are among Handel’s best-known keyboard works. The composer was allegedly inspired to create its unusual theme when, seeking refuge in a smithy’s shop from a sudden rain-shower, he heard the blacksmith singing a cheerful melody to the sound of his anvil. Handel used the theme with five variations as the closing movement of his fifth keyboard suite, which he published in 1720. With its catchy theme, the Harmonious Blacksmith variations enjoyed increasing popularity thereafter, including as an independent piece.The edition presented here uses Handel’s edition of the Suite as its main source (since he definitely checked it personally), along with the available manuscript sources.
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The Urtext instrumental part of this edition is laid out as a combined flute and bass part (featuring the original basso continuo figures without realisation). This manner of reproduction is oriented on the historical sources. Thus it is possible for an experienced continuo player to improvise a free accompaniment of his own to the sonata. Two copies of this dual part are included in this Henle edition, so that both players, flautist and accompanist, can perform from this combined musical text. In addition to the basso continuo figures, the score offers a historically appropriate basso continuo realisation that can be played at sight. In order to avoid page turns within the movements, the instrumental part is provided with a fold-out panel and a blank page.
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EAN: 9790201804835
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We do not know very much about Handel’s compositions on poems by Barthold Heinrich Brockes. We can only date their composition to approximately 1724–1727. The autograph does not shed any light on the titles nor the sequence of the works. It does not even give the instrumentation. Thus there are several alternatives for the solo instrument that imitates the vocal part – although violin, flute or oboe are the most likely. Our practical edition not only contains additional parts for the solo instrument and the bass but also a realization of the figured bass in the score by the editor Ullrich Scheideler.
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The fact that the three so-called “Hallenser” Sonatas do not all date from Handel’s youth in Halle does not adversely affect their popularity. Since only very little is known about them, and because certain stylistic characteristics suggest an early composition date, the sonatas were formerly assigned to Handel’s Halle years. However, we now know that at least the e minor Sonata was written in London. We include a combined part for Flute/Basso in this Urtext edition, so that both players – flautist and accompanist – can play from this musical text. We are also offering, in addition to the thoroughbass figuring, a historically-appropriate thoroughbass realization within the score.
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EAN: 9790201806389
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George Frideric Handel, who introduced several innovations in his vocal works, was quite conservative in his instrumental music. At the same time, he also created works of the highest quality in this field – such as, for example, for the violin. His seven violin sonatas were not conceived as an interconnected whole, but composed at different times. As fully-formed thoroughbass sonatas, they breathe vitality and freshness, and offer a wealth of melodies typical of this composer.
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“His things for clavier are incomparable, and almost indispensable to those familiar with the keyboard”; was the judgment of music theorist Johann Anton Scheibe in 1743 when discussing George Frideric Handel’s keyboard music. By making use of the Baroque master’s second printed collection of keyboard suites and single pieces of 1733, the interested pianist can paint a colourful picture. Among pieces entitled “Sonata”; “Suite”; “Prélude” or “Chaconne” within HWV 434–442 is to be found the well-known “Chaconne in G major” with its 21 variations, a work still performed in concert halls today.The player will also discover here the Aria with five graceful and playful variations that were made famous through Johannes Brahms’ own variation set. Since the collection was published in London and Amsterdam without Handel’s consent, and in a print that included many mistakes, an Urtext edition is vital for creating a reliable text. Klaus Schilde’s restrained fingerings will help overcome many problems, and open up some surprising perspectives.
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Handel and fugues? The connection is not the first thing to cross our minds when we think of baroque keyboard music. Yet Handel, besides writing keyboard fugues as parts of larger works, also turned out separate fugues beginning from his days in Hamburg. Our edition combines the well-known Six Fugues (HWV 605–610) with two isolated fugues (HWV 611 and 612). Handel later reused some of these fugues in his concerti grossi, the oratorio “Israel in Egypt”; and in a trio sonata, where they have become far more familiar today than the originals. Handel’s fugues were largely notated without ornaments. Our edition deliberately reproduces them in this original form, thereby giving performers latitude for their own interpretations.
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Découvrir conseils, opinions et fonctionnalités sur henle g nter george gershwin vendu 19.4 € , ce produit est placé dans la catégorie Bücher & Zeitschriften, fabriqué par Henle, Günter et est vendu par Orellfuessli.ch
In 1919-20 George Gershwin was making a name for himself with Broadway songs and a first show of his own in New York. But he was already attracted to the world of classical music - a world he would enter with a bang in 1924 with his “Rhapsody in blue”. He prepared himself for this by taking an intensive course in composition, during which he wrote this brief “Lullaby” for string quartet as an exercise, probably in 1919. He liked its catchy melody so much that he later used it again in his one-act “jazz opera” “Blue Monday Blues”. “I find the piece charming and kind”; wrote his brother Ira in 1968 when the quartet movement appeared in print for the first time. Thus the world was given a second lullaby by this American composer - one worthy to stand alongside his famous “Summertime” from “Porgy and Bess”. Read more about this edition in the Henle Blog.
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EAN: 9790201812243
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Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the cello; the fingerings in the marked copies provide helpful suggestions.
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Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.
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Of Carl Philipp Emanuel Bach’s flute concertos, the one in d minor is by far the best known, even though its authenticity has been repeatedly doubted. A version of the same concerto for harpsichord and orchestra is “genuine C.P.E.” and this has always been regarded as the original version. An in-depth study of all source findings does, however, suggest that Bach composed the flute version first. Our editor, the flautist András Adorján, is thus able to present a musical text in which many transmission errors have been eliminated. The edition is rounded off by a preface from the C.P.E. Bach specialist Wolfram Ensslin.
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Découvrir informations, conseils et prix pour henle g nter carl philipp vendu 46.9 € , est placé dans la catégorie Bücher & Zeitschriften; ce produit est fabriqué par Henle, Günter et est vendu par Orellfuessli.ch
Carl Philipp Emanuel Bach was probably the most famous of the Bach sons. He wrote many works for keyboard instruments, and these form the core of his compositional oeuvre. This volume is the last of Henle’s three-part anthology edition of selections of his piano sonatas, and contains 11 sonatas from between 1760 and 1783, three of them published here for the first time. Many performance instructions from C.P.E. Bach’s important musical instruction book, the “Versuch über die wahre Art das Clavier zu spielen” [Essay on the True Art of Playing the Keyboard], find their way into this volume, including a table in which the most important ornamentation signs and their proper execution are brought together.
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As a pedagogue and composer, Johann Sebastian Bach’s second eldest son, Carl Philipp Emanuel, was preeminent in the field of keyboard music during the transitional period between the baroque and classical eras. From his over 150 keyboard sonatas we have assembled a three-volume chronological selection that focuses on attractiveness and variety. Moreover, it makes available many previously unpublished sonatas. After all, sixty of Carl Philipp Emanuel Bach’s keyboard sonatas remained unpublished during his lifetime. This first volume contains eleven early compositions, composed between 1740 and 1748. The available sources for our Urtext edition have been autographs, first prints issued during Bach’s lifetime and manuscript copies from Bach’s circle. Darrell M. Berg’s preface provides important performance suggestions concerning the prescribed ornaments. With Berg’s table of the most important embellishments and their correct rendition, the player is optimally equipped to study Bach’s keyboard sonatas.
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EAN: 9790201803760
Découvrir conseils, opinions et fonctionnalités sur henle g nter carl philipp vendu 46.9 € , ce produit est placé dans la catégorie Bücher & Zeitschriften, fabriqué par Henle, Günter et est vendu par Orellfuessli.ch
As a pedagogue and composer, Johann Sebastian Bach’s second eldest son, Carl Philipp Emanuel, was preeminent in the field of keyboard music during the transitional period between the baroque and classical eras. From his over 150 keyboard sonatas we have assembled a three-volume chronological selection that focuses on attractiveness and variety. Moreover, it makes available many previously unpublished sonatas. After all, sixty of Carl Philipp Emanuel Bach’s keyboard sonatas remained unprinted during his lifetime. This second volume contains twelve sonatas from the period between 1749 and 1758. The available sources for our Urtext edition have been autographs, first prints that appeared during Bach’s lifetime and manuscript copies from Bach’s circle. Darrell M. Berg’s preface provides important performance suggestions concerning the prescribed ornaments. With Berg’s table of the most important embellishments and their correct rendition, the player is optimally equipped to study Bach’s keyboard sonatas.
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EAN: 9790201803777