G-Henle

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.

Frédéric Chopin is known worldwide as one of the leading musicians of the Romantic era. This collection of Mazurkas features all 57 of the Polish virtuoso pianist?s works written inthis genre for the solo Piano. Chopin started composing his mazurkas in 1825 and continued composing them until 1849 the year of his death. His Mazurkas while originating in the Polish dance(the ?mazurek?) differ from the traditional variety in that they were written for the concert hall rather than the dance hall so that it was Chopin who put the mazurka on the European musical map. Thesemazurkas signalled new ideas of nationalism and influenced and inspired other composers to support their national music. This Urtext edition is based on many different sources and follows the current state of research topresent the pieces in a form as close to the original intentions of the composer as possible. The comments at the end of the volume give detailed information about the sources and their deviations and an appendix with the firstversions of certain works is also included. Most of the pieces are quite brief and thus perfect for any skilled pianist?s repertoire.

La composition d??uvres pour piano n??tait pas le domaine de pr?dilection de Georges Bizet. Ses ?uvres pour piano sont peu nombreuses et peu significatives du point de vue de la forme du contenu et du caract?re. Il existe toutefois une exception: ses ?Jeux d?enfants? pour piano ? quatre mains compos?s en 1871 suite libre de douze pi?ces de genre courtes mais particuli?rement marquantes qui constituent un charmant petit chef-d??uvre. Avec une sobri?t? et une simplicit? empreintes d?esprit fran?ais il cr?e dans chacune de ces miniatures une atmosph?re unique et incomparable. L??criture et les moyens harmoniques utilis?s anticipent d?j? Ravel et Debussy! Certaines deces audaces furent pourtant malheureusement gomm?es au moment de la premi?re ?dition de 1872. C?est pourquoi il est d?autant plus important que notre ?dition urtext tienne ?galement compte du manuscrit autographe de Bizet. La pr?face et les remarques signalent toutes les variantes de la premi?re ?dition et offrent ainsi un aper?u passionnant de l?histoire de l??dition.

für zwei Hörner zwei Violinen Viola und Bass-It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture demand declined for buoyant serenades and divertimenti intended for courtcircles a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind his Sextet op. 81b is thus all the more remarkable standing out on account of the unusual virtuosity of the hornparts. This edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat it also contains transposed parts in F.

The urtext edition of Chopin's preludes edited by Norbert Mullemann with fingering by Hermann Keller.

Toccatas BWV 910-916-Relativement précoces les toccatas de Bach datent probablement des années 1707?1713 et représentent si l?on peut dire sa période «Sturm und Drang». Elles ne furent pas conçues comme un cycle mais indépendamment et à des époques variées chacune sous un numéro d?opus différent. Conformément au genre de la toccata elles se distinguent par leur caractère virtuose et la présence d?éléments d?improvisation parfois aussi de récitatifs sans pour autant être dépourvues de la solide technique polyphonique de la plénitude harmonique et de la ri-chesse d?invention inépuisable de Bach.