3 Soli: Solo Nr. 2 g-Moll. op. 125. Flöte und Klavier. (Flöte romantisch virtuos)

Klaviersonate Nr. 23 f-moll op. 57 (Appassionata): Besetzung: Klavier zu zwei Händen (G. Henle Urtext-Ausgabe)

FANTAISIE CHROMATIQUE ET FUGUE EN RE MINEUR BWV 903 ET 903A G. Henle Verlag

Studienpartitur Seiten: 48 Besetzung: Orchester Stimmführung: STUDIENPARTITUR

2x tesa Moll STANDARD I Profil Schaumstoff Dichtung 9 mm x 6 m braun, Büro & Schreibwaren > Papier, Büro- & Schreibwaren > Sonstige

Proverbi italiani Italienische Sprichwörter: Gesammelt und übersetzt von Ferdinand Möller unter Mitarbeit | dtv zweisprachig für Einsteiger – Italienisch

Siciliana d-Moll: Gitarre. (Edition Schott)

One of Chopin’s most radical compositions, the Scherzo in b minor, leaves very few listeners untouched. The main part, which is wild and full of brutal dissonances, frames an intimate Trio in which Chopin transcribes a Polish song for the piano with a magic touch. According to legend, the work was composed at the end of 1830 in Vienna, when Chopin had just left his homeland for good. The November uprising had broken out in Warsaw, and the composer alternated between wanting to revolt against fate and feeling inconsolably homesick. The revised edition of the Scherzo in b minor is available as a single edition in Henle Urtext for the first time – the Scherzi 2–4 are to follow, finally rounded off by the revised complete volume.

Chopin gave the “scherzo” a character all of its own, and his second Scherzo is probably the best known of the four works that he composed in that genre. In contrast to the first Scherzo, which survives only in its first editions, we are fortunate in that manuscript material is also extant for the second. These multitude sources are complemented by printed copies once belonging to Chopin’s pupils that contain his own annotations, and which have been newly evaluated for this revised Henle Urtext edition. Footnotes provide information on authorised variants, and in addition to the report printed in the edition itself, a detailed critical report is available on the Internet with in-depth information for those keen to know more about the history of the sources. Read more about this edition in the Henle Blog.

Concertino in ungarischer Weise op. 21, a-Moll

Chopin’s Scherzo no. 3 was connected to his legendary winter in Mallorca in 1838/39, as were his Préludes op. 28. On 22 January 1839, the composer sent the autograph of the latter work to Camille Pleyel in Paris, and at the same time announced further works that would soon “flood” the recipient of his letter, including the Scherzo no. 3. Did perhaps its alternation of passages with furious octaves and a grave chorale reflect Chopin’s mood at the time? That’s a question players will have to decide for themselves. This revised stand-alone Urtext edition is based on the first editions and on a manuscript copy. Footnotes and a condensed Critical Report offer information on the many variants in the history of its musical text, while a comprehensive Critical Report can be downloaded online. This is an Urtext edition that leaves nothing to be desired. Read more about this edition in the Henle Blog.

Chopin’s Scherzo no. 3 was connected to his legendary winter in Mallorca in 1838/39, as were his Préludes op. 28. On 22 January 1839, the composer sent the autograph of the latter work to Camille Pleyel in Paris, and at the same time announced further works that would soon “flood” the recipient of his letter, including the Scherzo no. 3. Did perhaps its alternation of passages with furious octaves and a grave chorale reflect Chopin’s mood at the time? That’s a question players will have to decide for themselves. This revised stand-alone Urtext edition is based on the first editions and on a manuscript copy. Footnotes and a condensed Critical Report offer information on the many variants in the history of its musical text, while a comprehensive Critical Report can be downloaded online. This is an Urtext edition that leaves nothing to be desired. Read more about this edition in the Henle Blog.

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support; the Slovenian Rieding specialist Maruša Zupančič contributes an interesting preface on the little-known composer.

Chopin gave the “scherzo” a character all of its own, and his second Scherzo is probably the best known of the four works that he composed in that genre. In contrast to the first Scherzo, which survives only in its first editions, we are fortunate in that manuscript material is also extant for the second. These multitude sources are complemented by printed copies once belonging to Chopin’s pupils that contain his own annotations, and which have been newly evaluated for this revised Henle Urtext edition. Footnotes provide information on authorised variants, and in addition to the report printed in the edition itself, a detailed critical report is available on the Internet with in-depth information for those keen to know more about the history of the sources. Read more about this edition in the Henle Blog.

One of Chopin’s most radical compositions, the Scherzo in b minor, leaves very few listeners untouched. The main part, which is wild and full of brutal dissonances, frames an intimate Trio in which Chopin transcribes a Polish song for the piano with a magic touch. According to legend, the work was composed at the end of 1830 in Vienna, when Chopin had just left his homeland for good. The November uprising had broken out in Warsaw, and the composer alternated between wanting to revolt against fate and feeling inconsolably homesick. The revised edition of the Scherzo in b minor is available as a single edition in Henle Urtext for the first time – the Scherzi 2–4 are to follow, finally rounded off by the revised complete volume.

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support; the Slovenian Rieding specialist Maruša Zupančič contributes an interesting preface on the little-known composer.

*Konzert h-moll op. 35 für Violine und Klavier * - Instrumentation: Violin and Piano Violin Concertos / 11€ / Taschenbuch

Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.

*Scherzo Nr. 2 b-moll op. 31 Urtext * - Klavier zu zwei Händen;Tasteninstrumente;revidierte Einzelausgabe aus HN 279; / 11€ / Taschenbuch