Passacaglia c-Moll: (Original für Orgel). BWV 582. Klavier. BOOSEY

Scholars have long been trying to figure out the mystery of Chopin’s one and only solo Fantasie. The highly individual form is a puzzle to all who prefer more traditional genre concepts. Is it a sonata movement, a rondo, or even a free combination of character movements such as march, recitative or chorale? Chopin lovers have no need of such considerations, seeing that nobody would ever dare to doubt that this Fantasie is one of the greatest works from his pen. After completing the composition, Chopin wrote “The sky is bright, but my heart is afflicted by sorrow”. This gloomy contrast pervades the Fantasie. It is an exceptional work from every point of view, now provided as a separate publication by way of a faithful Henle Urtext edition.

Scholars have long been trying to figure out the mystery of Chopin’s one and only solo Fantasie. The highly individual form is a puzzle to all who prefer more traditional genre concepts. Is it a sonata movement, a rondo, or even a free combination of character movements such as march, recitative or chorale? Chopin lovers have no need of such considerations, seeing that nobody would ever dare to doubt that this Fantasie is one of the greatest works from his pen. After completing the composition, Chopin wrote “The sky is bright, but my heart is afflicted by sorrow”. This gloomy contrast pervades the Fantasie. It is an exceptional work from every point of view, now provided as a separate publication by way of a faithful Henle Urtext edition.

Der Klettpunkt von Fix-o-moll besteht aus einem Haken- und Flauschteil und sorgt für feste Verbindungen, die jederzeit geöffnet und wieder geschlossen werden können. Die Klettpunkte sind selbstklebend ausgerüstet.

*Sonate a-moll Wq 132 für Flöte solo * - Besetzung: Flöte solo / 12€ / Taschenbuch

For whom did Carl Philipp Emanuel Bach write his solo sonata? The addressee of the sonata is frequently thought to be the King Friedrich II of Prussia. Yet Bach would not have made music that was exclusively intended for the king available for all. And the Sonata for flute solo was published twice in the 1760s. The riddle is not to be solved. Today the three-movement work is one of the solo pieces that all flautists have to have played once – it is truly regal music. The flautist Karl Kaiser has contributed informed comments on performance practice.

Beethoven once reported that he had written down his three last piano sonatas (op. 109, 110, 111) in 1820 to 1822 in one go, and they certainly form a closely related group. Beethoven dedicated his very last sonata, no. 32 in C minor op. 111, to his patron Archduke Rudolph of Austria, who shortly beforehand had also been the dedicatee of Beethoven’s famous “Missa solemnis”. Experts consider Beethoven’s last sonata to be the great, concluding climax of his piano sonata output. Its unusual two-movement form unites grandeur with simplicity. This carefully edited Henle Urtext edition offers a solid basis from which to delve into one of Beethoven’s most difficult piano sonatas.

Franz Schubert’s Piano Sonata in a minor op. post. 164, presented here in an Urtext edition, numbers among his early sonatas written between 1815 and 1819. In many of these pieces, Schubert still struggles with form; the Sonata in a minor from March 1817, however, is already wonderfully accomplished. In contrast to Schubert’s two later a-minor piano sonatas, the key here does not yet result in a tragic, fatalistic sound. This is also due to the fact that he took every opportunity to brighten the key to the major, or to swerve into neighbouring, friendlier harmonic regions.

For whom did Carl Philipp Emanuel Bach write his solo sonata? The addressee of the sonata is frequently thought to be the King Friedrich II of Prussia. Yet Bach would not have made music that was exclusively intended for the king available for all. And the Sonata for flute solo was published twice in the 1760s. The riddle is not to be solved. Today the three-movement work is one of the solo pieces that all flautists have to have played once – it is truly regal music. The flautist Karl Kaiser has contributed informed comments on performance practice.

Streichquartett f-moll op. post. 80 Studien-Edition: Besetzung: Streichquartette (Studien-Editionen: Studienpartituren)

SONATE POUR PIANO N 32 EN UT MINEUR OP. 111 Henle Verlag Henle, G. Verlag

Wenn der Moderator des heute-journals Claus Kleber, der Bildungspolitiker Manfred Erhardt und der Wirtschaftsjournalist der Süddeutschen Zeitung Marc Beise zusammenkommen, darf man scharfsinnige Einsichten in die gegenwärtige Situation der Bundesrepublik erwarten. Unter dem Titel »Deutschlands Zukunft - Dur oder Moll?« werden in drei Beiträgen grundsätzliche Probleme des deutschen Engagements in Afghanistan, der Bildungspolitik sowie der EU-Währungskrise analysiert. Dass der Euro der Grund für die heutige Finanzkrise sei, bestreitet mit Verve Marc Beise. Dass eine fördernde und zugleich leistungsorientierte Bildungspolitik essentiell ist für die Zukunft Deutschlands, dafür plädiert Manfred Erhardt. Und wie steinig, aber auch unvermeidlich der deutsche Einsatz in Afghanistan ist, führt Claus Kleber in eindrucksvoller Weise aus. Gehalten wurden die Vorträge seiner früheren Doktoranden zu Ehren des 80. Geburtstages des bekannten Tübinger Ordinarius Thomas Oppermann, der sich in vielfacher Weise um Europarecht, Verfassungsrecht und internationales Wirtschaftsrecht verdient gemacht hat und hier eingangs von Barbara Remmert, Dekanin der Tübinger Juristenfakultät, gewürdigt wird.

Chopin: Fantasie in f-Moll, op. 49 G. Henle Henle, G. Verlag

Bach’s Chromatic Fantasy and Fugue BWV 903 and 903a is one of his most fascinating works. It was apparently already greatly admired during his lifetime, for it survives in numerous copies which present some occasionally very different versions, especially in the Fantasy. Bach seems to have revised it several × since there is no extant autograph, one of these divergent versions of the Fantasy has been reproduced in the Appendix of the Henle Urtext edition.

Beethoven once reported that he had written down his three last piano sonatas (op. 109, 110, 111) in 1820 to 1822 in one go, and they certainly form a closely related group. Beethoven dedicated his very last sonata, no. 32 in C minor op. 111, to his patron Archduke Rudolph of Austria, who shortly beforehand had also been the dedicatee of Beethoven’s famous “Missa solemnis”. Experts consider Beethoven’s last sonata to be the great, concluding climax of his piano sonata output. Its unusual two-movement form unites grandeur with simplicity. This carefully edited Henle Urtext edition offers a solid basis from which to delve into one of Beethoven’s most difficult piano sonatas.