SKU: BR.EB-10821
In Cooperation with G. Henle Verlag
ISBN 9790201808215. 9.5 x 12 inches.
The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).
SKU: HL.49032978
ISBN 9783795755645. German.
The series 'Get to Know Composers' presents works of famous masters in easy arrangements as well as original compositions for piano. A brief biographical sketch with contemporary colour illustrations as well as a list of the most important works provide easy access to the respective composer. Thus, amateur pianists and young piano pupils can embark on a vivid excursion into the life and work of important composers.Tchaikovsky was the first Russian composer who gained worldwide fame. His symphonies, concertos and ballets are part of the standard repertoire of the musical scene. In addition to original piano works, this volume contains excerpts from Tchaikovsky's best-known compositions: the Violin Concerto and his Piano Concerto No. 1, Symphonies Nos. 5 and 6, the ballets 'SwanLake', 'The Sleeping Beauty' and 'Nutcracker', as well as 'Capriccio Italien' and other works.
SKU: HL.51480734
ISBN 9790201807348. UPC: 884088178482. 9.25x12.25x0.023 inches.
This volume completes Henle's urtext series of Joseph Haydn's three piano concertos. Written in or around 1765, the delightful first concerto is ideally suited for playing at home, for the relatively undemanding part for piano (or harpsichord) is accompanied merely by a string quartet. This edition draws on the musical text in our complete edition of Haydn's works, guaranteeing an urtext of the finest quality.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.14040192
ISBN 9789043157568. French.
Antonio Vivaldi (1673-1741) was an Italian composer, violinist and teacher in the Baroque era. His name has become synonymous with the series of Violin concertos known as the Four Seasons , but he also wrote over 500 other concertos for various instruments, as well as dozens of operas and several sacred works. The Concerto No. 23 (RV 425) was written in 1725. Set in the key of C major, it was originally scored for solo Mandolin with String Orchestra and Continuo Bass (Cembalo). It has been arranged for Guitar or Mandolin with Piano accompaniment by the French composer Fernand Oubradous .
SKU: HL.49012305
ISBN 9790001102698. 9.0x12.0x0.139 inches.
Pietro Nardini was the most important pupil of Tartini regarding both violin playing and composition. Like his teacher, he attached special significance to the beauty of sound and the -suitability for singing, as is shown by reports of his contemporaries. Leopold Mozart, for example, wrote in one of his letters that he had heard a certain Nardini and that there could not be heard anything more beautiful in the tonal beauty, purity, harmony and in the singable taste.The two concertos in A major and F major consist of three movements with the traditional tempo order quick-slow-quick, each movement giving the soloist the opportunity to play a solo cadence.
SKU: HL.49012378
ISBN 9790001128056.
The Violin Concerto, written in 1928, is one of Egk's most significant instrumental works. It is indicative of the contemporary climate of innovation as reflected in the development of new genres for chamber orchestra, ensembles and soloists, as for example in Hindemith's chamber music pieces, Weill's Concerto for Violin and Woodwind, Berg's Chamber Concerto, and the Concerto and Capriccio by Stravinsky. The chamber orchestra with 16 players was considered a type of instrumentation appropriately contemporary for variety of uses and was frequently referred to in contemporary literature and discussions on Neo-classicism, Neue Sachlichkeit, functional music, music for radio, etc.
SKU: HL.49018097
ISBN 9790001170406. UPC: 884088653767. 9.0x12.0x0.263 inches.
Jorg Widmann treats the violon at first as a vocal instrument, just in the tradition of the great violin concertos of the 19th century through to Alban Berg. But from the cantabile lines, often written 'sul tasto' and 'flautando', emerges again and again a virtuosity which is just as important to the genre and which, based on contemporary playing techniques, causes enticing problems for every player. As the orchestra is reduced to a demanding, yet rather accompanying function during the almost 30 minutes' duration, the piano reduction, already tried in Hamburg by the world premiere performer Christian Tetzlaff with Jorg Widmann on the piano, offers more than ever an opportunity for concert performances off the major stages.2 (2. auch Picc.) * 2 (2. auch Engl. Hr.) * 2 (2. auch Bassklar.) * 2 (2. auch Kfg.) - 4 * 0 * 0 * 0 - P. S. (Glsp. * Crot. [2 zwei-oktavige Sets] * 3 Beck. [h./m./t.] * Tamt. [m.] * gr. Tr. * Vibraslap) (2 Spieler) - Hfe. * Cel. (auch 2. gr. Tr.) - Str. (14 * 12 * 10 * 8 * 6 [alle mit 5. Saite H]).
Beethoven's cadenzas for his Piano Concerti (hard-bound facsimile edition of the composer's manuscript, in four true-to-the-original colors)
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: BR.EB-9457
ISBN 9790004189344. 9 x 12 inches.
Gal composed his Violin-Concerto in 1931/32 at the height of his career. In 1929, as an internationally recognised composer, he had been appointed Director of the Mainz Music College. The new concerto was immediately published and successfully premiered in Dresden in February 1933 by the violinist Georg Kulenkampff under Fritz Busch. Hitler's seizure of power, however, meant for Gal - as a Non-Arian - immediate dismissal from his post, followed by bans on employment, performance, and publication. Gal returned to his native Austria, but in 1938 again had to flee, this time to Britain, where he stayed for the rest of his life. Though he remained creatively active in the internationally changed post-war cultural climate, it is not until recently that he has been rediscovered and recognised as a composer.The Concerto was performed again in 2005 for the first time since 1933; extremely successful CDs followed in 2010 and 2011.The orchestral parts interact contrapuntally with one another and with the solo part. It is therefore all the more important for the soloist to become familiar with the orchestral part through this edition of the composer's own piano reduction.
SKU: HL.48016562
UPC: 073999656831. 8.5x11.0x0.234 inches.
Contents: Andante from Symphony No. 104 (Haydn) * Larghetto from Concerto Grosso No. 12 (Handel) * Adagio from Symphony No. 3 (Mendelssohn) * Andante from Symphony No. 5 (Schubert) * Largo from New World Symphony (Dvorak) * Songs My Mother Taught Me (Dvorak) * Andante from Symphony No. 4 (Schubert) * Largo from Symphony No. 88 (Haydn) * Silent Woods (Dvorak) * Melody from Violoncello Concerto (Dvorak) * Andante from Violin Concerto (Mendelssohn) * Adagio from Symphony No. 97 (Haydn) * Finale from Symphony No. 5 (Dvorak) * Andante Cantabile from Symphony No. 5 (Tchaikovsky).
SKU: HL.49000043
ISBN 9790001003773. UPC: 073999357455. 8.5x11.75x0.011 inches.
SKU: HL.49012321
ISBN 9790001102810. UPC: 884088501723. 9.0x12.0x0.202 inches.
