| AntonÃn Dvorak: String
Quartet in C major op.
61: String Ensemble:
Parts String Quartet: 2 violins, viola,
cello G. Henle
Streichquartett C-dur Opus 61. Composed in autumn of 1881, Opus 61 is the last o...(+)
Streichquartett C-dur Opus 61. Composed in autumn of 1881, Opus 61 is the last of Dvorák?s ?middle? quartets by chronology for which Beethoven and Schubert served as the most significant models. Beethoven?s influence, from thematic development to motivic treatment, is particularly noticeable in this work in C major. It is only in the finale that the typical Slavic tonal quality usually found in Dvorák?s music surfaces somewhat more prominently. Due to a lack of time, the composer - contrary to his usual practice - turned to older, either discarded or hitherto unpublished themes from other works for three of the four movements. This reliable Urtext edition continues the comprehensive Henle series of significant works of chamber music by Dvorák.
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| Mozart W.a. - Piano
Music From The Nannerl
Music Book G. Henle
When Maria Anna Mozart, known as Nannerl, was to receive piano lessons, her fath...(+)
When Maria Anna Mozart, known as Nannerl, was to receive piano lessons, her father gave her a music book in which he and others gradually wrote down little recital pieces. Her brother Wolfgang Amadeus soon acquired the book from his older sister. From an early age he displayed a particular talent for composing whereupon his father also wrote down his son’s first works in this music book. The “Nannerl Music Book” thus contains 17 pieces written by Mozart when he was between the ages of five and eight, all of which are easy to play – ideal pieces for beginners. Our edition is taken from the complete volume of Mozart’s Piano Pieces, HN 22, and contains a new preface by the editor Ullrich Scheideler especially written for beginners.
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| Ravel M. - Gaspard De La
Nuit - Piano Piano solo G. Henle
Maurice Ravel Gaspard de la nuit Editeur: Peter Jost Ravel a puisé l?inspirat...(+)
Maurice Ravel Gaspard de la nuit Editeur: Peter Jost Ravel a puisé l?inspiration de son cycle pour piano «Gaspard de la nuit» dans un recueil de poèmes du romantique français Aloysius Bertrand. Contrairement à ses ?uvres précédentes, il ne retrace pas seulement ici les impressions fournies par son modèle littéraire, mais il narre de façon fascinante, par des moyens musicaux, les décors grotesques et lugubres. Ses «trois poèmes romantiques d?une virtuosité transcendante» devaient encore surpasser en raffinement technique «Islamey» de Balakirev, réputé injouable à l?époque. Notre édition offre non seulement un Urtext impeccable sous un format agrandi, clairement ordonné: chaque partie est précédée, en trois langues, du poème correspondant de Bertrand.?
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| Brahms J. - Sonata E
Minor Op.38 - Violoncelle
Et Piano Cello, Piano G. Henle
E minor - revised edition - with marked and unmarked string part - cello and pia...(+)
E minor - revised edition - with marked and unmarked string part - cello and piano fingering: Kanngiesser, Claus fingering: Schilde, Klaus editor: Behr, Johannes editor: Voss, Egon
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| Haydn, Josef : Variations
in f minor (sonata) Hob.
XVII : 6 Piano solo [Sheet music] - Intermediate/advanced G. Henle
La dernière ?uvre pour piano de Haydn est considérée comme son ?uvre la plus ...(+)
La dernière ?uvre pour piano de Haydn est considérée comme son ?uvre la plus célèbre pour cet instrument. Le thème en mineur est plein de profondeur émotionnelle: «Un Andante mélancolique en fa mineur, varié comme seul un maître peut varier et qui s?écoute presque comme une fantaisie libre» (critique contemporaine). La forme elle aussi est exigeante: non pas un mais deux thèmes ? l?un en majeur, l?autre en mineur ? sont tour à tour variés. L?autographe laisse à penser que l??uvre devait constituer initialement le premier mouvement d?une sonate. La présente édition séparée est tirée du volume «Klavierstücke» (HN 224) récemment révisé, et accompagnée d?un commentaire détaillé. L?autographe des Variations en fa mineur de Haydn est depuis peu disponible, dans une édition Henle en fac-similé, HN 3218. / Classique / Doigtés: Christine Schornsheim / Partition / Broché / Edition Urtext
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| Bach C.p.e. -
Gambensonaten Wq 88, 136,
137 G. Henle
Herausgeber: Ernst-Günter Heinemann, Wolfram Enßlin Fing. Va: Jürgen Weber Fi...(+)
Herausgeber: Ernst-Günter Heinemann, Wolfram Enßlin Fing. Va: Jürgen Weber Fingersatz Gambe: Rainer Zipperling Generalbassaussetzung: Wolfgang Kostujak Wie sein Vater hat auch Carl Philipp Emanuel Bach drei Sonaten für Viola da Gamba komponiert. Sie stammen aus seiner Zeit am Berliner Hof Friedrichs des Großen und gaben dem herausragenden Gambisten der Hofkapelle Gelegenheit, sein virtuoses Können zu zeigen. Während die beiden Sonaten Wq 136 und 137 mit Generalbass komponiert sind, folgt Bach in der Sonate g-moll Wq 88 dem Vorbild des Vaters: Rechte und linke Hand des Cembalos wetteifern in gleichberechtigter Dreistimmigkeit mit dem Soloinstrument. Die Originallage der Gambenstimme erlaubt auch eine Ausführung mit Viola, eine Bearbeitungspraxis, die bereits durch zeitgenössische Quellen belegt ist. Diese Fassung liegt unserer Urtextausgabe als alternative Stimme bei.
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| Brahms J. - Piano Pieces
Op. 118 G. Henle
Piano Pieces op. 118 Editor: Katrin Eich Fingering: Andreas Boyde Urtext Editi...(+)
Piano Pieces op. 118 Editor: Katrin Eich Fingering: Andreas Boyde Urtext Edition, paperbound revised edition replaces HN 122 Pages: 35 (VII, 28), Size 23,5 x 31,0 cm Order no. HN 1215 · ISMN M-2018-1215-1 When his contemporaries heard the works that Johannes Brahms had composed during his summer holiday in Ischl in 1893 – the Piano Pieces op. 118 –, they were delighted. Clara Schumann was one of the first to be allowed to get to know the new pieces, and she attested that they contained “a wealth of sentiment in the smallest of dimensions”. Philipp Spitta fittingly said that the works were “perfect for slowly absorbing in solitude and tranquillity”. Opus 118 contains two of the composer’s bestknown miniatures – the Intermezzo in A major and the Romanze in F major. We particularly recommend this volume, based on the musical text in the New Brahms Complete Edition, to all those who wish to immerse themselves in the world of Brahms’ late works. Contenu : Ballad g minor op. 118,3 Intermezzo A major op. 118,2 Intermezzo a minor op. 118,1 Intermezzo e flat minor op. 118,6 Intermezzo f minor op. 118,4 Romance F major op. 118,5
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| Mozart W.a. -
Wunderkind-sonatas Ii K.
10-15 - Piano G. Henle
Wunderkind-Sonatas Volume II K. 10-15 Editor: Wolf-Dieter Seiffert Fingering: A...(+)
Wunderkind-Sonatas Volume II K. 10-15 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering In 1764 the eight-year-old Mozart wrote the Sonatas K. 10-15 in London. Leopold Mozart was only able to understand his son's musical genius in terms of it being a God-given wonder: That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it. According to the title page the six sonatas can either be played as piano trios, violin sonatas or simply piano solo. As we have already published them in the form of piano trios and violin sonatas (HN 1078), we are now presenting them in an Urtext edition for piano solo. Piano Sonata (Wunderkind) B flat major KV 10 Piano Sonata (Wunderkind) G major KV 11 Piano Sonata (Wunderkind) A major KV 12 Piano Sonata (Wunderkind) F major KV 13 Piano Sonata (Wunderkind) C major KV 14 Piano Sonata (Wunderkind) B flat major KV 15
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| Mozart W.a. -
Wunderkind-sonatas Vol. I
K. 6-9 - Piano G. Henle
Wunderkind-Sonatas Volume I K. 6-9 Editor: Wolf-Dieter Seiffert Fingering: Aria...(+)
Wunderkind-Sonatas Volume I K. 6-9 Editor: Wolf-Dieter Seiffert Fingering: Ariane Haering As astonishing as it might sound, Mozart was already composing piano sonatas (K. 6-9) at the age of seven. It is wonderfully fresh and varied music. We have already published Urtext editions of these four sonatas in the version for piano and violin (HN 1077). As far as we are aware they have never been published solely as piano sonatas, even though Mozart described them thus in the title and they were assuredly played as such. Whilst the added violin provides tonal enrichment, it can be omitted without loss. A true treasure trove of easier, unknown original music by Mozart. Piano Sonata (Wunderkind) C major KV 6 Piano Sonata (Wunderkind) D major KV 7 Piano Sonata (Wunderkind) B flat major KV 8 Piano Sonata (Wunderkind) G major KV 9
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| Mozart W.a. - Wunderkind
Sonatas Vol. Iii K. 26-31
- Piano Et Violon G. Henle
Wunderkind Sonatas Volume III for Piano and Violin K. 26-31 Editor: Wolf-Dieter...(+)
Wunderkind Sonatas Volume III for Piano and Violin K. 26-31 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering In autumn 1765 Mozart's family was in Holland, not least at the request of Princess Caroline von Nassau-Weilburg. The fame of the prodigy Wolfgang Amadeus had already reached her so that she had an extraordinary desire to see this child (according to Leopold Mozart). The Sonatas for Piano K. 26-31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were naturally dedicated to the princess. An early copy which has nothing to do with Mozart was consulted by the New Mozart Edition as a primary source alongside the first edition. Our Urtext edition revises the musical text, deleting the misleading additions from this source. Violin Sonata (Wunderkind) E flat major KV 26 Level of difficulty (Violin): medium (Level 4) Violin Sonata (Wunderkind) G major KV 27 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 28 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) D major KV 29 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 30 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 31 Level of difficulty (Violin): easy (Level 2)
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| Mozart W.a. - Wunderkind
Sonatas Vol. Ii K. 10-15
- Piano And Violin G. Henle
Wunderkind Sonatas Volume II for Piano and Violin K. 10-15 Editor: Wolf-Dieter ...(+)
Wunderkind Sonatas Volume II for Piano and Violin K. 10-15 Editor: Wolf-Dieter Seiffert Fingering and bowing for Violin: Benjamin Schmid Fingering Piano: Ariane Haering Leopold Mozart was only able to understand his son's musical genius in terms of it being a God-given wonder: That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it, cannot believe it. In 1764 Wolfgang composed six sonatas in London - possibly after the model of Johann Christian Bach's Opus 2 - that can either be played as piano trios, as violin sonatas or simply on the piano. Royal sources were consulted for the edition: the copy in the British Library bears the handwritten note: This Volume belongs to the Queen 1788. Violin Sonata (Wunderkind) B flat major KV 10 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) G major KV 11 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) A major KV 12 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) F major KV 13 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) C major KV 14 Level of difficulty (Violin): easy (Level 3) Violin Sonata (Wunderkind) B flat major KV 15
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| Mozart W.a. - Piano
Sonata D Major K.284
(205b) G. Henle
Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Mart...(+)
Piano Sonata D major K. 284 (205b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold The Sonata in D major is the last of the Six Sonatas K. 279-284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz - which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein's new fortepianos. FIRST MOVEMENT A first version of the beginning of the first movement, written on one and a half pages, was cancelled by Mozart. On the same page, he started anew to write the final version underneath. The thematic material of this opening movement (and to a lesser degree also that of the following movements) is laid out on a more ample, nearly orchestral scale, a departure from the intimacy of the early sonatas. The tremolo effect in measures 13-16 and the unison announcements of the first subject read very much like a piano reduction of an orchestral tutti. The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck's overture Iphigénie en Tauride and the first movements of J. S. Bach's Italian Concert). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72. SECOND MOVEMENT Mozart called the second movement a Rondeau en Polonaise, so it is a dance. The opening four measures from a kind of dialogue (like the theme of the first movement of the preceding G major Sonata), and Mozart subjects them to felicitous counter-statement is heightened by Mozart's meticulous dynamic markings. THIRD MOVEMENT The last movement of the Sonata is a pianistically rewarding, cheerful set of variations, which, up to the adagio variation, has the character of a gavotte. It shows Mozart's special gift for writing variations at its most brilliant. The superficial impression of a diffuse form does not stand up to a closer inspection: it would not be at all easy to omit one of the twelve variations, or to add an extra one. The adagio variation is on special interest to Mozart scholars, for it gives us some insights into his concept of impromptu ornamentation. The autograph is only modestly ornamented, and Mozart presumably embellished it in performance as his fancy dictated. But a richly ornamented version survived in the first edition, published during Mozart's lifetime, and undoubtedly this embellished version is Mozart's own work. Who else could embellish in such an ingenious way? It illuminates Mozart's ideas on ornamentation in general and in particular. Paul and Eva-Badura-Skoda
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| Maurice Ravel: Piano
Trio: Piano Trio: Score
and Parts Piano Trio: piano, violin, cello G. Henle
Klaviertrio-As with all of his mature chamber music works Ravel also emerges as ...(+)
Klaviertrio-As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio composed in 1914. Thus the ?Passacaglia? movement corresponds to the underlying form of theBaroque Period. The music on the other hand was according to Ravel ?like that of Saint-Saëns? which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: froma constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianistPascal Rogé.
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| Johann Sebastian Bach:
Six Partitas BWV 825-830:
Piano: Instrumental Album Harpsichord G. Henle
Each one of Bach?s Six Partitas features seven great single movements predomina...(+)
Each one of Bach?s Six Partitas features seven great single movements predominantly in the sequence: Präludium Allemande Courante Sarabande [two free dances] Gigue. These partitas canjustifiably be described as Bach?s ?ultimate? cycle of suites. As regards the artistic and manual demands it goes far beyond its ?English? (HN 100) and ?French? (HN 71) siblings that are also frequently played. It is nocoincidence that Bach only had these six partitas printed (1731) and what is more as ?Opus 1?.
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| Frédéric Chopin:
Etuden: Piano:
Instrumental Album Piano solo G. Henle
Etudes-Twenty-seven of Chopin???s Etudes including all of Op.10 and Op.25 broug...(+)
Etudes-Twenty-seven of Chopin???s Etudes including all of Op.10 and Op.25 brought together in one superb volume. There is a wonderful collection of studies and melodies here all in varying styles and levels of difficulty but all have adeep-rooted sense of passion and expression. This Urtext edition has been edited from authoritative sources texts and original editions by Ewald Zimmerman and represents an authentic and accurate reproduction of thesemagnificent works by one of the greatest Piano composers of all time. These pieces remain popular today and are valuable and highly enjoyable concert pieces which emphasise musicality as well as technical principles.
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| Robert Schumann: Concert
Piece For Four Horns And
Orchestra Op.86:
Orchestra: Brass Quartet: 4 horns G. Henle
Piano Reduction-Composed in 1849 Robert Schumann's Concert Piece For Four Horns...(+)
Piano Reduction-Composed in 1849 Robert Schumann's Concert Piece For Four Horns And Orchestra Op.86 is still considered a romantic work for Horn par excellence and a benchmark for all soloists.'Something quitecurious I believe' it was thus that Schumann described his Concert Piece For Four Horns And Orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatmentof the instruments was concerned.At the time in which the work was composed the French horn was still fairly new enabling players to play previously unheard-of runs and free modulations a fact which Schumann madethe most of particularly with his scoring for four Horns.
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| Camille Saint-Saëns:
Havanaise Op.83: Violin:
Instrumental Work Violin and Piano G. Henle
Havanaise op. 83 for Violin and Piano-Camille Saint-Saëns' Havanaise Op.83 fo...(+)
Havanaise op. 83 for Violin and Piano-Camille Saint-Saëns' Havanaise Op.83 for Violin and Piano. Urtext edition.It is said that Camille Saint-Saëns' was inspired to write Havanaise Op.83 after observing acrackling open fire at one of the hotels where he stayed whilst on tour with the violinist Rafael Diaz Albertini in 1885.We do not know whether when writing the composition two years later the Habanera (French Havanaise)with its typical two beat dance rhythms was an allusion to the Cuban origin of his friend Albertini to whom this work is dedicated.At any rate the composition was extremely well received from the very beginning both in its original form and in the Orchestral version. Ingolf Turban kindly provided the bowings for the virtuoso Violin part.
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| Franz Joseph Haydn:
Complete Piano Sonatas
Volume II: Piano:
Instrumental Album Keyboard [Sheet music] G. Henle
Complete Piano Sonatas Volume II-Franz Joseph Haydn was a prominent and prolifi...(+)
Complete Piano Sonatas Volume II-Franz Joseph Haydn was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the Piano trio and his contributions to musical form haveearned him the epithets 'Father of the Symphony' and 'Father of the String Quartet'. At the time of his death aged 77 he was one of the most celebrated composers in Europe.Franz Joseph Haydn: Complete PianoSonatas Volume II includes 18 sonatas for solo Piano. This Urtext Edition is an authoritative edition with accurate editorial content and as close to the composer's intentions as possible.
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| Claude Debussy: The
Little Negro: Piano:
Instrumental Work Keyboard [Sheet music] G. Henle
Debussy occasionally reacted to musical trends in his compositions as was the c...(+)
Debussy occasionally reacted to musical trends in his compositions as was the case with American ragtime. Aside from Golliwogg?s Cakewalk in Children?s Corner (HN 382) The Little Negro is even todaya standard piece in modern crossover orientated Piano teaching. Debussy did actually compose the piece for a Piano method namely that of Théodore Lack published in 1909. In 1934 the publishing house Leduc produced a singleversion in which measures 22 to 54 are repeated unlike in the first edition. The piece is not particularly difficult and is very effective.
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| Franz Joseph Haydn: Paris
Symphonies Part 1 -
Critical Report:
Ensemble: Français Livre Musical G. Henle
This scholarly volume features a critique editorial commentary and performance ...(+)
This scholarly volume features a critique editorial commentary and performance advice in a Critical Report for three of Haydn’s Paris Symphonies: Symphonie (Paris Symphonies) Hob. I:87 Symphonie 'La Poule' (Paris Symphonie)Hob. I:83 and Symphonie 'La Reine' (Paris Symphonies) Hob. I:85.
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| Ludwig van Beethoven:
Congratulations Minuet
And Dances For Orchestra: Orchestra G. Henle 81.99 GBP - Sold by Musicroom UK |
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| Franz Joseph Haydn:
Concertini For Piano:
Violin: Part Violon 1 [Sheet music] G. Henle
für Klavier (Cembalo) mit zwei Violinen und Violoncello
6.99 GBP - Sold by Musicroom UK |
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| Johann Baptist Georg
Neruda: Concerto for Horn
(Trumpet) and Strings:
Horn Woodwind Trio: any 3 woodwinds G. Henle
in E flat major Piano Reduction
15.25 GBP - Sold by Musicroom UK |
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| Johann Sebastian Bach:
Englische Suiten BWV
806-811: Piano:
Instrumental Album Piano solo [Sheet music] - Intermediate/advanced G. Henle
English Suites BWV 806-811-English Suites 1-6 by J.S. Bach with text in German ...(+)
English Suites BWV 806-811-English Suites 1-6 by J.S. Bach with text in German English and French.
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| Frédéric Chopin:
Scherzi: Piano:
Instrumental Album Piano solo G. Henle 29.99 GBP - Sold by Musicroom UK |
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| Franz Joseph Haydn:
Sinfonias From
1757-1760/61: Orchestra:
Score Orchestra G. Henle
Sinfonias From 1757-1760/61
261.50 GBP - Sold by Musicroom UK |
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| Franz Joseph Haydn:
Canons - Critical Report:
Reference Français Piano, Voice G. Henle 21.25 GBP - Sold by Musicroom UK |
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| Manuel de Falla: Nights
in the Gardens of Spain:
Piano Duet: Instrumental
Work 2 Pianos, 4 hands G. Henle
for Piano and Orchestra-The seven years that the Spanish composer Falla spent in...(+)
for Piano and Orchestra-The seven years that the Spanish composer Falla spent in Paris (from 1907 to 1914) marked a turning point in his compositions. His encounter with contemporary French Impressionist music made a big impact on him. From then on itwas to leave its mark on his oeuvre which was otherwise inspired by Spanish folk music. It was thanks to the advice of the pianist Ricardo Viñes and the composer Isaac Albéniz that Falla decided to expand his ?Nocturnes? for solopiano of 1909 into a three-part symphonic suite for piano and orchestra. He finally completed it in 1915 and named it ?Noches en los jardines de España? (?Nights in the gardens of Spain?). Yuja Wang kindly provided fingerings forthe solo piano part of de Falla?s enchanting musical evocation of his Andalusian homeland.
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