This publication for the first time presents the full score of George Antheil's Ballet mécanique as originally conceived. The work to prepare this edition was the result of a remarkable collaboration between a team of editors, musicologists, engravers and other musicians. With the original Pianola parts transcribed for MIDI by Paul Lehrmann (who also gave the premiere of this version and subsequently recorded it), Antheil's composition can finally be performed as he imagined it. Rental material, which includes all MIDI files for performance, can be obtained from the Schirmer Rental and Performance Department. www.schirmer.com
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This 1992 composition is the composer's personal portrait of New York City. It was premiered by the New York Philharmonic, with Leonard Slatkin conducting, on January 4, 1996. The title is drawn from poet Pablo Neruda's 1974 Nobel Prize address. The piece was recorded on the Sony label by The Philharmonia Orchestra, Zdenek Macal conducting.
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For Alto, Flute, Tuba, 6 Percussionists and Live Electronics.
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Mozart's Piano Concerto is one of his most played works. The autograph score is very well preserved and beautifully written. Mozart wrote hurriedly but always clearly, occasionally making corrections; and towards the end the writing becomes increasingly fleeting. Thanks to this high quality facsimile edition we are almost able to peer over his shoulder into the score. The publisher produced his first edition using this autograph score. It came into the possession of the collector Charles Malherbe, who in turn bequeathed it to the Paris conservatory. Today it is one of the treasures in the Grande Rserve held in the music department at the French National Library in Paris. The pianist and conductor Andrés Schiff prompted us to produce this facsimile, substantially contributing to its publication (which is why it can be offered at an attractive price for Mozart's anniversary year in 2006). His preface bears witness to his great enthusiasm for this exceptional work and manuscript.
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With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.
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“His present pieces must convince both connoisseurs and others alike of the unbiased opinion that Beethoven will in time become one of the greatest composers in Europe”, thus wrote Joseph Haydn, when informing the Elector in Bonn on the progress of his pupil in 1793. However, the elector replied that he was already familiar with parts of the Parthia Op. 103 that had been sent as evidence of the composer's progress. Beethoven had apparently only reworked an earlier composition. Nevertheless we must agree with Haydn: The Parthia and the Rondo WoO 25 that was originally intended as the final movement provide wonderful evidence of Beethoven's great skill. Henle's Urtext edition also contains additional parts for horns in F.
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Brahms composed his Triumphlied for eight-part chorus, solo baritone and orchestra as a direct reaction to the victory of the German army in the Franco-Prussian War of 1870/71 and the consequent founding of the German Empire. Similar to the German Requiem completed shortly before, Brahms himself compiled the text from the Bible, in this case from Chapter 19 of the Book of Revelations. Because of the somewhat melodramatic tone of the composition and the nationalistic background to the works genesis, in recent years the Triumphlied has seldom been heard in concert halls. Unlike overly-patriotic occasional works such as Richard Wagner's Kaisermarsch, the Triumphlied is “true Brahms” and is a musically rich composition. This study edition takes the musical text from the Brahms Complete Edition (HL 51486030), thereby representing the highest scholarly precision. The Appendix contains an exciting new discovery, a previously-unknown early version of the 1st movement in C major, which was only rediscovered in 2012 in Bremen.
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Beethoven is presumed to have completed his 5th Symphony in early 1808; today, it is one of the most famous works of classical music of all. Its nickname “Fate Symphony” was given to it posthumously by Beethoven's biographer Anton Schindler; a title which no longer plays a role in modern-day Beethoven scholarship. Based on the recently published musical text of the Beethoven Complete Edition and supplied with a new preface by editor Jens Dufner, one of the most vibrant and stimulating orchestral works of the standard repertoire is now available in a practical format for travel, study or the concert hall.
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Sandwiched between the popular Symphonies Nos. 7 and 9, the relatively short Eighth Symphony finds itself in a difficult position even now. Right after the premiere in February 1814, one critic opined that it had made “no splash.” At first glance it makes recourse to already outmoded forms and genres, even reviving a minuet for the third movement (in lieu of a slow movement) after an Allegretto scherzoso. But Beethoven engages intensively with music history, breaking apart traditional procedures and patterns and finding new, surprising solutions that make his Eighth a milestone in symphonic history. Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now,in this study edition, it is available to everyone at a reasonable price and in a handy format.
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Around 40 minutes in length and scored for diverse instruments including horns, trumpets and timpani, the Serenade in D major by Johannes Brahms comes close to the symphony. Written in 1858/59 by the up-and-coming composer, opus 11 started out as a simpler work with four movements for “small orchestra” before turning into the “Symphony Serenade” that we know today. Our study score not only offers the scholarly musical text from the Brahms Complete Edition but also an extensive preface in which the editor Michael Musgrave presents the complicated genesis of Brahms's first great orchestral work.
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For Symphonic Orchestra. Performance materials available on rental. Duration: ca. 18 minutes.
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Carl Nielsen's Symphony No.2 'The Four Temperaments' Op.16. This study score is a photographically reduced reproduction of the work as it appears in the Carl Nielsen Edition.
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