Preface • I. Andante non troppo-Allegro moderato • II. Walzer. Moderato. Tempo di Valse • III. Elegie. Larghetto elegiaco • IV. Finale (Tema Russo) Andante-Allegro con spirito
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Nine works originally composed for film, TV drama and ads. Arrangements to concert versions were prepared by the composer.
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English Only – Cloth Score.
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Shostakovich's Symphony No.2 was written in 1927 to fulfil a state commission to mark the tenth anniversary of the October Revolution. The composer opens the compact 20-minute work with a purely instrumental first section followed by a musical setting of Alexander Bezymensky's poem To October, a hymn of praise to Lenin and the revolution. While avant-garde and modernist traits prevail in the first section, the choral finale features a conventional, almost placating tonal language that emphasises the histrionic gestures of the text, so that the composition communicates as a piece of programmatic propaganda. Shostakovich himself was rather dissatisfied with his Symphony No. 2 but it was awarded first prize in a composition competition for the best pieces relating to therevolutions jubilee.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of Dmitri Shostakovich”.
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The Sextet in B-flat major was already judged to be “one of the most beautiful works by this young composer” after its initial performances in early 1861. It was popular with both public and press, and has retained this status to the present day. The publisher Simrock was so impressed by it that he accepted Brahms's suggestion that he should publish a score of it alongside the individual parts - something that was by no means usual at the time. The numerous differences between these two first editions of 1861 continue to present problems to Brahms researchers today. Brahms specialist Katrin Eich has already taken on the task of editing the work for the Brahms Complete Edition, and this new Urtext edition provides the best possible musical text for performance. Naturally, it is available in both score and parts.
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Performance time - ca. 4:00
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Performance time - ca. 4:00
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Performance time - ca. 7:00
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Performance time - ca. 3:30
Also includes musical quotes from “There's No Business Like Show Business” (words and music by Irving Berlin)
“That's Entertainment” (words by Howard Dietz, music by Arthur Schwartz).
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First performed in November 1954 by the Warsaw Philharmonic Orchestra conducted by Witold Rowicki. Duration c.29mins. Orchestral material available for hire from Chester Music.
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New engraving.
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HPS 699
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HPS 722
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Preface • Vorwort • I. Allegro • II. Romance. Andante • III. Menuetto. Allegretto • Trio • IV. Rondo. Allegro
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Content text: Preface
Vorwort
I. Andante comodo
II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
III. Rondo-Burleske. Allegro assai. Sehr trotzig
IV. Adagio. Sehr langsam und noch zurückhaltend
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Against the backdrop of increasingly strict guidelines for the creation of art and music from the beginning of the 1930s, Shostakovich presented with his Symphony No.3 a work that satisfied a number of the required characteristics: alongside the clear, tonal writing and insistent rhythms, the choral finale triumphantly sings of the revolutionary celebration of May Day. The composer spoke in a letter of the “spirit of peaceful reconstruction” which he wanted to express in his new work. Despite its initial success, Shostakovich's Third was categorised as “formalistic” and disappeared from the repertoire for the next 30 years.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of Dmitri Shostakovich”.
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Joint publishing venture with Editio Musica Budapest.
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Dvorák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighborhood violin lessons, he wrote these four little movements for two violins with viola accompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play, though with its flowing melodies and spirited rhythms it still offers the best of Dvorák. It is not surprising that his publisher Fritz Simrock immediately snatched them up when Dvorák told him in 1887 that he was working on little bagatelles. The autograph of the score that contained many corrections nevertheless makes evident just how much hard work went into these little bagatelles. It also served as the engravers copy for the first edition. Both these sources were consulted for this Urtext edition that offers today's players an authentic text of this musical jewel.
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When Beethoven received a commission from Vienna's Burgtheater to composer stage music for Goethe's tragedy Egmont in 1809, he viewed it as a great honor. The impetus would have been all the stronger since the drama, about a Dutch nobleman who falls victim to a plot by a Spanish ruler, from the outset provided for music at several points. Beethoven repeatedly declared later on that he received no honorarium from the theatre's management, but had written the music “solely out of love for the poet.” The overture became separated from the rest of the incidental music very early on; it was separately published and soon performed as a concert piece independent of the stage tragedy. Henle now issues it as a study score based on the text of the Beethoven Complete Edition, and with a new preface.
Introduction presented in English, French, and German.
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On the premiere of the 3rd Symphony in the Musikvereinssaal in Vienna in 1883, the Wagnerites, who disliked Brahms, hissed after every movement. Yet Brahms' biographer Max Kalbeck said, “The audience was so intimately touched by this wonderful work that not only did the opposition fall quiet, but the ovations for the composer reached a level of enthusiasm hardly ever before attained in Vienna and Brahms thus celebrated one of his greatest triumphs.” We now present the score of this work, which recently appeared as part of our new Complete Edition, in a handy study edition.
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Miniature (5-3/4″ x 8-1/4″) full scores of these pieces with an introductory article.
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Performance time - ca. 4:00
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Performance time - ca. 3:30
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