For clarinet, bassoon, French horn, violin, viola, cello and double bass.
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| Price | $45.00 (Save: $5.00) |
Antifona for 2 Oboes and Strings.
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Challenge your chamber group with this fascinating work by one of our most important contemporary composers. The title refers to the way in which other instruments expand upon and transform the colors of the solo piano. Scored for piano with flute, clarinet, trumpet, trombone and 2 percussion. Duration ca. 13 minutes.
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| Price | $36.00 (Save: $4.00) |
For Flute, Oboe, Cello and Harpsichord.
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| Price | $31.50 (Save: $3.50) |
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| Price | $7.16 (Save: $0.79) |
| List | $7.95 |
| Price | $7.16 (Save: $0.79) |
Scored for flute, piccolo, violin, viola, violoncello and harp. Composed in 1952, this is the first published edition of the piece.
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Vers toi qui es si loin is an adaptation of the final aria of Saariaho's 2000 opera L'Amour de loin, with a libretto by Amin Maalouf. Piccolo, harp and strings accompany the solo violinist in this version. The original version for soprano solo is also available.
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| Price | $7.19 (Save: $0.80) |
Among Vivaldi's many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted in autograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is very possibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as part of a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this setin detail. It is very likely that RV 431 and RV 432 belonged to this group of works, the last known collection of its kind in Vivaldis oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. MORE»
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When Dvorák wrote his Serenade for 10 winds and 2 lower strings in January 1878, the heyday of the great wind serenades and “Harmoniemusik” wind ensembles was already long gone. He was probably inspired by hearing Mozart's Gran Partita shortly beforehand in Vienna. The home key of d minor here is striking, as is the often serious, even tragic atmosphere that repeatedly darkens the otherwise cheerful mood that is typical of the serenade genre. Perhaps this was a reaction to the death of two of his children just a few months earlier. Despite the work's dramatic character - or perhaps because of it - Dvorák's Serenade was taken up in many European cities soon after its first performance in Prague, and fêted as a significant contribution to the chamber music repertoire for wind instruments. The autograph sources in Prague have been consulted for this Urtext edition. The parts are printed with player-friendly page divisions, perfect page-turning opportunities, and practical alternative parts in F for the three horns.
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This Henle edition is full of mistakes! The publisher can freely admitt this, because the odd notes here all come from Mozart himself - he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title “Village Musicians” was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today's performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin.
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It would be hard to imagine today's concert repertoire without the harpsichord concertos of Johann Sebastian Bach. It is not known whether the A-major Concerto BWV 1055, like some of the other harpsichord concertos, was originally conceived for a different instrument. In its musical exuberance, the solo part certainly sounds tailor-made for the keyboard instrument. In the original parts, the concerto displays a distinctive feature: one can discern that Bach added a part for violone (a bowed bass instrument) in the tutti sections for later performances and provided the continuo part with thorough-bass figuring. The Henle Urtext edition takes into account both performance possibilities: the conducting score and the individual parts are presented with the two addenda.
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Beethoven wrote a total of four overtures for his only opera, 'Leonore'/'Fidelio'. The so-called Leonore Overture no. 2 is first inthe series by chronology and was written in 1805 for the premiere of the opera in Vienna. It follows the concept of a summary of integral moments in the subsequent dramatic work, eschewing a formal closing by means of a recapitulation of the exposition. Instead, the double clarion call, which suggests the resolution of the conflict in the opera, leads directly to transition into the coda. Featuring a new preface, it now appears as a study edition prepared on the basis of the musical text of the Beethoven CompleteEdition.
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Today, Beethoven's cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer's lifetime - not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment,” written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public - and with its hymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich - perhaps an opportunity to discover unknown Beethoven as well!
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In his dedication of 20th June 1608 to Count Scripo Nascica Fantagucci, the printer Alessandro Rauerij emphasized that his collection contains some of the most outstanding works by the most modern and prominent musicians, and we do in fact find names such as Giovanni Gabrieli and Girolamo Frescobaldi, and also the other masters we have reprinted were famous far beyound their day. Accidentals above the notes are editor's suggestions. In the parts, the tenor has been printed three times: in the alto, the octave treble and the normal treble clef. The canzonas can be played on any instruments, and consorts of fiddles, viols, recorders, as well as lutes and guitars are especially suitable. MORE»
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Texts: Anonymous Old Latin, Etruscan, Greek inscriptions, 7th - 1st century BCE. MORE»
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Etoile/ Shell Lake Jazz Series
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from the Carlos Saura film Tango.
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Soundtrack version.
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| List | $9.95 |
| Price | $8.96 (Save: $0.99) |
Clarinet, bassoon, French horn, violin, 2 violas, cello and double-bass. MORE»
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| Price | $53.96 (Save: $5.99) |
