Oboe quartet in C major Hautbois, Violin, Alto et Violoncelle (Quatuor) [Conducteur et Parties séparées] Edition HH
By Alessandro Rolla (1757-1841). Edited by Michael Elphinstone. For Oboe, violin...(+)
By Alessandro Rolla
(1757-1841). Edited by
Michael Elphinstone. For
Oboe, violin, viola,
cello. Full score and
parts. 8 3x4(ix) pages.
Published by Edition HH
Music Publishers
Flute, violin or harpsichord SKU: HH.HH599-FSP Composed by Benjamin Skinn...(+)
Flute, violin or
harpsichord
SKU:
HH.HH599-FSP
Composed
by Benjamin Skinner.
Edited by Michael Talbot.
Full score and parts.
Edition HH Music
Publishers #HH599-FSP.
Published by Edition HH
Music Publishers
(HH.HH599-FSP).
ISBN
9790708213147.
Eigh
teenth-century
England was full of
amateur musicians making
music without fanfare at
home. Some of them were
also gifted composers,
and among the best was
Benjamin Skinner
(1728–1757) from what
was then the village of
Bromley near Bow, today
part of London’s East
End. Skinner’s main
publication was a set of
six sonatas for flute,
violin or solo
harpsichord, which came
out in 1752. These
unpretentious pieces,
then as now well suited
to performance by
amateurs or by musicians
in training, are full of
delights, mixing
stylistic features
inspired by Purcell or
Handel with evocations of
English popular vocal
music and also the
newer galant style
introduced from Italy.
Perhaps these sonatas
work best with flute and
basso continuo, but the
other two performance
options are good
alternatives.
Composed by Jean-Baptiste
Quentin. Edited by
Michael Talbot. Full
score and parts. Edition
HH Music Publishers
#HH608-FSP. Published by
Edition HH Music
Publishers
(HH.HH608-FSP).
ISBN
9790708213222.
Quen
tin’s trio sonatas are
impressive for their
command of all the
elements of musical
composition, particularly
counterpoint (fugues are
one of his specialities).
They mix French and
Italian elements
attractively and vary the
movement types employed
intelligently so as to
give each work
individuality. They are
equally suited to
recreational and concert
use and deserve to stand
alongside their companion
works by such composers
as Leclair and
Mondonville.
Piano solo SKU: HH.HH532-SOL Composed by J.N. Hummel and Wolfgang Amadeus...(+)
Piano solo
SKU:
HH.HH532-SOL
Composed
by J.N. Hummel and
Wolfgang Amadeus Mozart.
Edited by Sarah Jenner.
Playing score. Edition HH
Music Publishers
#HH532-SOL. Published by
Edition HH Music
Publishers
(HH.HH532-SOL).
ISBN
9790708185444.
Moza
rt’s final three
symphonies were composed,
according to Mozart’s
autograph Verzeichnüß,
in the space of a few
weeks, from late June to
early August 1788. During
that year the 11-year-old
Hummel was a resident
pupil of Mozart and would
have been a daily witness
to the creation of these
foundational works of the
Western musical canon.
There is an almost total
lack of documentary
evidence concerning the
circumstances of these
works, however, which has
led to considerable
speculation as to their
origins, early
performances and
reception. There are
three plausible scenarios
for the genesis of these
symphonies: that they
were written for a series
of subscription concerts
scheduled for autumn
1788; that Mozart wrote
them with the
(unfulfilled) intention
of publication as an
opus; that they may have
been prepared in advance
of Mozart’s projected
visit to London with his
British friends the
Storace family, Thomas
Attwood and Michael Kelly
(again unfulfilled). A
contemporaray review in
The Harmonicum (1823) of
Hummel’s piano
arrangements of these
works notes, approvingly,
that they show his
perfect knowledge of the
instrument and his nice
[= fastidious]
discrimination in
selecting the most
effective parts from the
score in those places
where the whole could not
be taken.
Flute, violin or harpsichord SKU: HH.HH598-FSP Composed by Benjamin Skinn...(+)
Flute, violin or
harpsichord
SKU:
HH.HH598-FSP
Composed
by Benjamin Skinner.
Edited by Michael Talbot.
Full score and parts.
Edition HH Music
Publishers #HH598-FSP.
Published by Edition HH
Music Publishers
(HH.HH598-FSP).
ISBN
9790708213130.
Eigh
teenth-century
England was full of
amateur musicians making
music without fanfare at
home. Some of them were
also gifted composers,
and among the best was
Benjamin Skinner
(1728–1757) from what
was then the village of
Bromley near Bow, today
part of London’s East
End. Skinner’s main
publication was a set of
six sonatas for flute,
violin or solo
harpsichord, which came
out in 1752. These
unpretentious pieces,
then as now well suited
to performance by
amateurs or by musicians
in training, are full of
delights, mixing
stylistic features
inspired by Purcell or
Handel with evocations of
English popular vocal
music and also the
newer galant style
introduced from Italy.
Perhaps these sonatas
work best with flute and
basso continuo, but the
other two performance
options are good
alternatives.
Solo voice and keyboard SKU: HH.HH604-FSC Composed by Henry Holcombe. Edi...(+)
Solo voice and keyboard
SKU: HH.HH604-FSC
Composed by Henry
Holcombe. Edited by
Michael Talbot. Full
score. Edition HH Music
Publishers #HH604-FSC.
Published by Edition HH
Music Publishers
(HH.HH604-FSC).
ISBN
9790708213192.
Henr
y Holcombe (1690–1756),
born in Chester as the
son of a silk weaver,
became between 1720 and
his death one of the
leading English composers
in small-scale forms,
mainly vocal but also
instrumental. Most of his
vocal compositions are
short, strophic songs,
but each of his two major
song collections – The
Garland (1748) and The
Musical Medley (1755) –
contains a work in
several movements
describable as a chamber
cantata. This volume
brings together
Holcombe’s four
cantatas, which are very
attractive melodically
and fine examples of a
kind of music widely
cultivated in English
domestic music-making
during most of the
eighteenth century. They
can be performed by voice
and keyboard alone, but
the option also exists to
use a violin and/or a
cello in addition.
Composed by Jean-Baptiste
Quentin. Edited by
Michael Talbot. Full
score and parts. Edition
HH Music Publishers
#HH607-FSP. Published by
Edition HH Music
Publishers
(HH.HH607-FSP).
ISBN
9790708213215.
Quen
tin’s trio sonatas are
impressive for their
command of all the
elements of musical
composition, particularly
counterpoint (fugues are
one of his specialities).
They mix French and
Italian elements
attractively and vary the
movement types employed
intelligently so as to
give each work
individuality. They are
equally suited to
recreational and concert
use and deserve to stand
alongside their companion
works by such composers
as Leclair and
Mondonville.
Piano solo SKU: HH.HH566-SOL Composed by J.N. Hummel and Wolfgang Amadeus...(+)
Piano solo
SKU:
HH.HH566-SOL
Composed
by J.N. Hummel and
Wolfgang Amadeus Mozart.
Edited by Sarah Jenner.
Playing score. Edition HH
Music Publishers
#HH566-SOL. Published by
Edition HH Music
Publishers
(HH.HH566-SOL).
ISBN
9790708185819.
Moza
rt’s final three
symphonies were composed,
according to
Mozart’s autograph
Verzeichnüß, in the
space of a few weeks,
from late June to early
August 1788. During that
year the 11-year-old
Hummel was a resident
pupil of Mozart and would
have been a daily witness
to the creation of these
foundational works of the
Western musical canon.
There is an almost total
lack of documentary
evidence concerning the
circumstances of these
works, however, which has
led to considerable
speculation as to their
origins, early
performances and
reception. There are
three plausible scenarios
for the genesis of these
symphonies: that they
were written for a series
of subscription concerts
scheduled for autumn
1788; that Mozart wrote
them with the
(unfulfilled) intention
of publication as an
opus; that they may have
been prepared in advance
of Mozart’s
projected visit to London
with his British friends
the Storace family,
Thomas Attwood and
Michael Kelly (again
unfulfilled). A
contemporaray review in
The Harmonicum (1823) of
Hummel’s piano
arrangements of these
works notes, approvingly,
that they show his
perfect knowledge of the
instrument and his nice
[= fastidious]
discrimination in
selecting the most
effective parts from the
score in those places
where the whole could not
be taken.
Piano solo SKU: HH.HH515-SOL Composed by Franz Joseph Haydn. Edited by Sa...(+)
Piano solo
SKU:
HH.HH515-SOL
Composed
by Franz Joseph Haydn.
Edited by Sarah Jenner.
Arranged by C.D.
Stegmann. Playing score.
Edition HH Music
Publishers #HH515-SOL.
Published by Edition HH
Music Publishers
(HH.HH515-SOL).
ISBN
9790708185253.
Hayd
n’s Symphony No.
101 was first performed
on 3 March 1794 at the
Hanover Square Rooms
under the direction of
Salomon as concertmaster
with the composer himself
at the fortepiano. The
work was an instant
success and soon became,
and remains to this day,
one of Haydn’s
most popular
symphonies.
SATB chorus SKU: HH.HH596-CHS Composed by Emma Brown. Edited by Sarah Jen...(+)
SATB chorus
SKU:
HH.HH596-CHS
Composed
by Emma Brown. Edited by
Sarah Jenner. Choral
score. Edition HH Music
Publishers #HH596-CHS.
Published by Edition HH
Music Publishers
(HH.HH596-CHS).
ISBN
9790708213116.
A
refreshingly intimate
setting of the Preces and
Responses in easy SATB: a
welcome addition to the
Evensong repertoire. Emma
writes I approached the
text as prayer,
considering not only the
words themselves, but the
circumstances in which a
person might be moved to
such prayer..
String Trio (V1, V2, Cello) and continuo SKU: HH.HH586-FSP Composed by Fr...(+)
String Trio (V1, V2,
Cello) and continuo
SKU: HH.HH586-FSP
Composed by Frederich
Ernest Fisher. Edited by
Michael Talbot. Full
score and parts. Edition
HH Music Publishers
#HH586-FSP. Published by
Edition HH Music
Publishers
(HH.HH586-FSP).
ISBN
9790708213017.
Sain
t Pancras refers to the
original name of the
Hooglandse Kerk in
Leiden, the Netherlands,
where Emma is composer in
residence.
String Trio (V1, V2, Cello) and continuo SKU: HH.HH587-FSP Composed by Fr...(+)
String Trio (V1, V2,
Cello) and continuo
SKU: HH.HH587-FSP
Composed by Frederich
Ernest Fisher. Edited by
Michael Talbot. Full
score and parts. Edition
HH Music Publishers
#HH587-FSP. Published by
Edition HH Music
Publishers
(HH.HH587-FSP).
ISBN
9790708213024.
Fish
er’s Op. 2 set is
externally very similar
to its Op. 1 predecessor
in its combinations of
movement types and
musical language, but now
has an added spaciousness
and audacity born of
greater maturity.
Everything is wonderfully
blended: the fugal
movements are melodious;
the ‘singing
allegros’ are
harmonically rich and
contrapuntally charged;
the dance-like movements,
full of happy surprises,
fizz and purr. Op. 2
appeared in print only in
the year following
Fisher’s death.
Surprisingly in the
circumstances, the level
of accuracy in the
engraved parts matched
the high standard set by
Op. 1. This would have
gratified the composer,
who was so evidently a
perfectionist in all he
undertook.
Composed
by Giuseppe Aldrovandini.
Edited by Michael Talbot.
Full score and parts.
Edition HH Music
Publishers #HH590-FSP.
Published by Edition HH
Music Publishers
(HH.HH590-FSP).
ISBN
9790708213055.
The
ten motets (Concerti
sacri) for solo voice,
violins and continuo
making up his Op. 3
(1703) are among his most
attractive compositions,
standing on the
borderline between
seventeenth-century bel
canto and the progressive
trends represented by
Alessandro Scarlatti and,
later, Antonio Vivaldi.
The two motets for bass
voice concluding the set
delight through their
euphony and the sheer
swagger of
Aldrovandini’s
writing for the
voice.
Soprano voice & piano SKU: HH.HH602-FSC Composed by Timothy Raymond. Full...(+)
Soprano voice & piano
SKU: HH.HH602-FSC
Composed by Timothy
Raymond. Full score.
Edition HH Music
Publishers #HH602-FSC.
Published by Edition HH
Music Publishers
(HH.HH602-FSC).
ISBN
9790708213178.
Part
I explores themes of
love, regretting its loss
and sometime futility.
Part II, opening with the
lightest song in the
work, rapidly darkens to
a nightmarish mood and
concludes with the sonnet
– fourteen lines
– which,
paraphrased, gives the
work its title. Its
succinct expression of
the philosophical and
technical dilemmas of the
poet, as she struggles to
put the violent and
demonic tyranny of
existential Disorder into
the Order of the poem, is
reminiscent of the
age-old conflict of
Dionysus and Apollo: the
archetype which has
underpinned so much
artistic endeavour.
Two solo violins, strings & continuo SKU: HH.HH591-FSC Composed by Michel...(+)
Two solo violins, strings
& continuo
SKU:
HH.HH591-FSC
Composed
by Michele Mascitti.
Edited by Michael Talbot.
Full score. Edition HH
Music Publishers
#HH591-FSC. Published by
Edition HH Music
Publishers
(HH.HH591-FSC).
ISBN
9781914137242.
Ordi
nary violin sonatas
formed the backbone of
the series of ten
collections that the
Italian violinist Michel
Mascitti
(1663/4–1760),
born in southern Italy
but permanently resident
in Paris from 1703,
committed to print
between 1704 and 1738.
His Op. 7 (1727) opens
with eight such sonatas
but ends with four
concertos for strings in
six parts that, alongside
a collection of concertos
for five flutes (!) by
J.B. de Boismortier
published in the same
year, inaugurate the
proud tradition of
concertos created on
French soil. Amazingly,
Mascitti’s
concertos have been
neglected not merely by
publishers and performers
but also by commentators.
In particular, the first
two concertos display
great musical merit in an
original idiom that
combines Italian and
French influences in a
very personal way.
Further, their Italianate
elements juxtapose
features familiar from
the concertos of Corelli,
Mascitti’s reputed
teacher, with ones more
usually associated with
Vivaldi. Both concertos
are laden with emotion,
albeit never at the
expense of the polish and
attention to detail that
are the hallmark of
Mascitti’s
craft.
Piano solo SKU: HH.HH531-SOL Composed by J.N. Hummel and Wolfgang Amadeus...(+)
Piano solo
SKU:
HH.HH531-SOL
Composed
by J.N. Hummel and
Wolfgang Amadeus Mozart.
Edited by Sarah Jenner.
Playing score. Edition HH
Music Publishers
#HH531-SOL. Published by
Edition HH Music
Publishers
(HH.HH531-SOL).
ISBN
9781914137280.
Moza
rtâ??s final three
symphonies were composed,
according to Mozartâ??s
autograph
Verzeichnü�, in the
space of a few weeks,
from late June to early
August 1788. During that
year the 11-year-old
Hummel was a resident
pupil of Mozart and would
have been a daily witness
to the creation of these
foundational works of the
Western musical canon.
There is an almost total
lack of documentary
evidence concerning the
circumstances of these
works, however, which has
led to considerable
speculation as to their
origins, early
performances and
reception. There are
three plausible scenarios
for the genesis of these
symphonies: that they
were written for a series
of subscription concerts
scheduled for autumn
1788; that Mozart wrote
them with the
(unfulfilled) intention
of publication as an
opus; that they may have
been prepared in advance
of Mozartâ??s projected
visit to London with his
British friends the
Storace family, Thomas
Attwood and Michael Kelly
(again unfulfilled). A
contemporaray review in
The Harmonicum (1823) of
Hummelâ??s piano
arrangements of these
works notes, approvingly,
that they show his
perfect knowledge of the
instrument and his nice
[= fastidious]
discrimination in
selecting the most
effective parts from the
score in those places
where the whole could not
be taken.
Cello & piano SKU: HH.HH278-FSP Composed by Jeremy Arden. Cello & Piano. ...(+)
Cello & piano
SKU:
HH.HH278-FSP
Composed
by Jeremy Arden. Cello &
Piano. Score and solo
part. Duration 15
minutes. Edition HH Music
Publishers #HH278-FSP.
Published by Edition HH
Music Publishers
(HH.HH278-FSP).
ISBN
9790708092353.
Thes
e four pieces for piano
and cello have been
gestating over many years
but were not fully
realized until 2009. The
music's origins lie
partly in the personal
and partly in the
poetic.
Composed
by Stephen Pratt. Wind
Band, Timpani,
Percussion, Marimba &
Bass Guitar. Conducting
score. Edition HH Music
Publishers #HH250-CON.
Published by Edition HH
Music Publishers
(HH.HH250-CON).
ISBN
9790708059998.
Writ
ten for the Wirral
Schools' Concert Band in
1987, Strong Winds,
Gentle Airs is built, as
the title suggests, from
two types of material
– one forceful and
rhythmic, the other more
relaxed, with slow
moving, almost static
harmonies. In revising
the piece for
publication, the composer
has endeavoured to retain
as much of the original
character as
possible.