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Ludwig van Beethoven’s two Romances for violin and orchestra in G major op. 40 and F major op. 50 are rewarding solo pieces that demand virtuoso technique and artistic sensitivity. Their simple structure, with noble melodies and subsequent virtuoso embellishments, already made them popular during Beethoven’s lifetime. The piano score of this edition is based on the Urtext of the Beethoven Complete Edition. In his preface to our Henle Urtext Edition, Ernst Herttrich offers many interesting details about the genesis and conception of the two romances. The fingerings are by violin virtuoso Wolfgang Schneiderhan; an unfingered part is also included.
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Beethoven’s Romances for violin and orchestra op. 40 and op. 50 are rewarding solo pieces that demand sovereign technique and artistic sensitivity. Their simple structures with noble melodies and virtuoso embellishments made them popular concert pieces already during Beethoven’s lifetime. In addition to a piano reduction for practical performance, G. Henle here presents a study score. It follows the musical text of the Beethoven Complete Edition and accords with the orchestral material from Breitkopf & Härtel. In his detailed preface, Ernst Herttrich informs us about the genesis and the source situation of the two works.
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These two short, unpretentious sonatinas in G major and F major were published during Beethoven’s lifetime in ca. 1807. Since then they have become firmly established in the repertoire for beginners due to their striking beauty. However, it is very unlikely that they were actually written by Beethoven, and for this reason they do not have opus numbers but instead are listed in his catalogue of works as “Anhang/Appendix 5”. Walther Lampe provided the fingerings for this Urtext edition; Lampe was a piano pupil of Clara Schumann, and in turn taught Günter Henle, founder of the music publishing company. Henle described Lampe as an “outstanding performing pianist”. Moreover, he was one of the leading piano pedagogues of his time.
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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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Ludwig van Beethoven composed the Sonatina in G major op. 79 in 1809/1810, virtually as an afterthought to his work on larger piano compositions: the E flat major Piano Concerto, the Choral Fantasy, and the “Les Adieux” Sonata. Beethoven’s spirit is present in this composition too, even if it was not, perhaps, afforded an equally intensive degree of inspiration and artistic effort. The “Presto alla tedesca” became famous because the motif of a third, like the call of a cuckoo, is taken through all the keys. The middle movement is pervaded by unpretentious beauty in the form of a melancholic Russian melody, while the finale delights with its humoresque character. The work’s modest level of technical difficulty makes it a musically demanding practice and recital piece. Conrad Hansen’s highly regarded fingerings will be very helpful in this process.
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Online-tutorial available at Henle Masterclass
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The opus number of Beethoven’s Easy Piano Sonatas op. 49 is misleading. The pieces were written not long after the Sonatas opp. 2, and most likely – in part, at least – before his Sonata op. 7. Sketches can be found in the “Kafka Miscellany” sketchbook, which Beethoven used for several years both in Bonn and subsequently in Vienna until the late 1790s. The second sonata seems to be the earlier of the two. The composer also reprised the theme of the second movement, Tempo di Menuetto, for the Menuet in the Septet op. 20. It is one of his best-known piano pieces, which just about every budding pianist encounters early in his lessons.
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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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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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On the occasion of the 70th birthday of Gidon Kremer, violinist extraordinaire, G. Henle Publishers is issuing a special edition of Beethoven’s Violin Concerto in collaboration with the Kronberg Academy. It comprises two editions, gathered together in an attractive slipcase: the piano score and violin part without annotations (also available as HN 326), and the “Kremer part”. The latter includes fingerings and bowings by Gidon Kremer. The musical text is followed by an essay by Kremer about recordings of the Beethoven Concerto, bearing the attractive title: “Searching for Ludwig”. And this is not all: the first-movement cadenza by the composer Victor Kissine, which Kremer has already played numerous times, is published here for the very first time. The solo violin is here accompanied by wind and percussion. The edition also includes the corresponding performance materials for the cadenza, including the score and a piano reduction for study purposes. This extraordinary Urtext edition is rounded off with a foreword by Friedemann Eichhorn. Congratulations, Maestro Kremer! Read more about this edition in the Henle Blog.
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Variation form occupied Beethoven throughout his composing career. This first volume of G. Henle Publishers’ two-volume edition of all his piano variations includes works from Beethoven’s time in Bonn as well as his early years in Vienna, composed between 1783 and 1799. Beethoven mostly took his themes from arias or songs from stage works that were popular at the time. Besides offering simple figurations around the melodic lines, he also made more radical variations of his chosen material, pointing the way forward to his future “character variations”. The musical text of this Urtext edition has been completely revised on the basis of the critical report of the Beethoven Complete Edition. There is also a detailed preface and commentary. Read more about this edition in the Henle Blog.
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Among Hans-Werner Küthen’s most important editions are the five piano concertos in the Complete Edition of Beethoven’s works. G. Henle Publishers now offer this tour de force in the form of study scores for students and all friends of Beethoven’s music. This edition corrects numerous errors and irregularities that were found in earlier editions. The specialist press wrote about this Urtext edition with accompanying texts: “Hans-Werner Küthen gives these masterpieces the editions that they deserve”.
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The variation genre occupied Beethoven his whole artistic life. Collected in the second volume of G. Henle Publishers’ complete edition of piano variations are compositions from his middle and later Vienna years written between 1799 and 1823. Among them are groundbreaking works such as the two sets of variations on original themes opp. 34 and 35, the Variations in C minor WoO 80, and, as the final crown jewel, the Diabelli Variations op. 120. The revised musical text of the Urtext edition, with an extensive foreword and commentary, was prepared on the basis of the subsequent Critical Apparatus of the Beethoven Complete Edition. The fingering suggestions stem from the competent hand of Ian Fountain.
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Zur Bekämpfung von Übersäuerung
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With the exception of the version of the “Grand Fugue” for piano four hands (HN 954), this volume contains all of Beethoven’s works for this scoring, to which he only rarely turned. It comprises the Sonata in D major op. 6, the “Three Marches” op. 45, the “Eight Variations on a theme of Count von Waldstein” WoO 67 and the “Six Variations on the Song Ich denke dein” WoO 74 – all of these works are very well-suited to piano teaching. The musical text was revised to follow the recently published Critical Report of the Beethoven Complete Edition, and is now accompanied by new explanatory texts. The piano duo specialist Andreas Groethuysen has also provided fingerings for this work.
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In the classical era, and far into the 19th century, piano trios were what we might call “fashion accessories”. It is thus no coincidence that Beethoven, following in the footsteps of Haydn and Mozart, took up this genre and created altogether 13 piano trios of his own.This second volume contains the two Piano Trios op. 70 and the Trio op. 97, as well as the Variations on the song “Ich bin der Schneider Kakadu” op. 121a. The nickname “Geistertrio” (Ghost Trio) of the Trio op. 70 no. 1 stems, as usual, not from Beethoven but was given to the piece no doubt because of the spooky, mysterious sound of the slow movement.The Archduke Trio op. 97 was named after its dedicatee Archduke Rudolph and is undisputedly Beethoven’s most important composition of this kind. With a duration of over 45 minutes, it is also his longest piano trio. Though written in 1810/11, it was not published until 1816.
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Beethoven’s three Piano sonatas op. 2 were the first works in this genre to which he gave an opus number, thus signalling to the music world the special importance that he assigned to them. He wrote them during his first years in Vienna and, along with his op. 1 piano trios op. 1, they helped to establish his reputation as one of the most significant composers of his time. These three sonatas – all of them small masterpieces – are arranged in ascending order of difficulty and virtuosity. This large-scale Sonata in C is notable for its swift outer movements, marked Allegro con brio and Allegro assai respectively. They demand a considerable degree of virtuosity from even experienced performers. If all goes well, the audience will marvel! Murray Perahia’s fingerings have been tried and tested over several decades of performing these works, and offer a new approach to these milestones of the piano repertoire.
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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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Beethoven’s 32 piano sonatas are the “New Testament” of music, according to Hans von Bülow. Our selection here does not take things quite so solemnly, because we have also taken the opportunity to show the more “worldly” side of the composer, with dances, bagatelles, the unusual character piece “Lustig und traurig” (“Happy and sad”); and of course the indestructible “Für Elise”. As usual in our series “At the piano”; all the pieces are arranged progressively from easy to medium level of difficulty. And you do not have to be in awe of Beethoven’s piano sonatas either: the highly Classical sonata in G major (essentially a sonatina) offers an ideal introduction to the many-facetted world of Beethoven’s sonatas. In contrast to this, we also show Beethoven the “poet at the piano”; with the first movement of his “Moonlight” Sonata in c-sharp minor, along with the funeral march from the Sonata in A-flat major – visionary creations that already point far ahead into the world of Romanticism.
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“My compositions are very profitable for me and I can say that I have more orders than are almost possible for me to fulfil.” Beethoven wrote the latter to a friend in 1801. He had only just completed his “Moonlight Sonata” op. 27 No. 2, when he began writing down the first sketches for his Sonata op. 28. Elements of pastoral music, such as the dance-like triple metre as well as pedal notes and fifths in the bass which seem to imitate bagpipes, are reminiscent of the later 6th Symphony. The rustic character gave rise to the work’s epithet “Sonate Pastorale”. Following a thorough revision, we are now presenting this sonata in an affordable single edition for the first time. The fingerings were provided by none other than Murray Perahia.
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EAN: 9790201807256
