SKU: HL.51481346

ISBN 9790201813462. UPC: 888680925031. 9.25x12.0x0.066 inches.

When composing his Spanish Dances (HN 1370), the composer and violin virtuoso Sarasate united existing material - folk songs and songs by well-known composers - with his own uniquely charming musical language. The two Dances op. 22, “Romanza andaluza” and “JotaNavarra,” were completed in 1878 during Sarasate's first concert tour through Scandinavia. After their initial performances, the lyrical “Romanza” soon outstripped its brilliant sister piece in popularity, and thereafter it was one of Sarasate's compositions that he played most often himself. Since then, this piece has lost nothing of its charm, and it is now available as a stand-alone edition in the Henle catalogue.

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• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
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SKU: HL.50510754

ISBN 9790080026540. UPC: 073999783636. 8.0x11.25x0.118 inches. Hungarian, English, German.

Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnanyi's mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pecs (South Hungary). Ruralia Hungarica was one of Dohnanyi's favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).

SKU: HL.14019075

ISBN 9788759854327. Danish.

The Piano score and complete instrumental parts for Karl Aage Rasmussen's Liederkreis. Rasmussen organised five songs by Robert Schumann into a large cycle, within which each song is rotating forwards and backwards in several tempo-layers at the same time. The circle consists of two independent but complimentary orbits - one for each singer. Written in 1986, it was commissioned by, and dedicated to, the Washington New Music Ensemble. The full instrumentation consists of Soprano and Baritone voices with Flute, Violin, Clarinet, Vibraphone and an amplified Piano.

SKU: PR.144407050

UPC: 680160655519. 9 x 12 inches.

Celebrating 30 years, the Philadelphia Chamber Music Society commissioned a work of 20-25 minutes for violin and piano from James Primosch, University of Pennsylvania professor of music. Primosch had originally thought to create a new sonata, but what developed is more appropriately a set of five character pieces, two of which were directly inspired by poems. Five Poems was premiered in May, 2016, and Primosch's thoughts are recorded at his website: https://jamesprimosch.com/2016/05/10/five-poems-premiere/.
Upon receiving a commission from the Philadelphia Chamber MusicSociety for a violin and piano piece in honor of its 30th anniversary, myplan was to write a sonata, a term suggesting a relatively abstractdiscourse. But as the piece developed, the movements struck me ascharacter pieces rather than music employing a more “symphonic”approach. When specific poems started to attach themselves in my mindwith two of the movements, the overall title Five Poems became clear.The title of the second movement is a line from Susan Stewart’s“Descent”, which deals with Aeneas’s visit to the underworld. The musicis alternately fiercely driving and quite still, though tense. RobertFrost’s Nothing Gold Can Stay summons fleet scale passages framinglyrical counterpoint. The remaining movements do not refer to specificpoems, but have titles reflecting their expressive tone. Dreamscape ismusing with an improvisatory violin line over shifting pairs of pianochords. Nightsong is a bluesy lullaby that turns highly dramatic.Vision begins with a closely argued struggle but breaks through tosomething spacious and clear.

SKU: PR.164002390

UPC: 680160038091.

I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.

SKU: A3.9781854721273

ISBN 9781854721273. 9 x 12 inches.

Contains characterful and approachable compositions for cello and piano, and presents pieces in a variety of styles and moods.

SKU: HL.49017922

ISBN 9790220127397. UPC: 884088567620. 9.0x12.0x0.125 inches.

These six short pieces might more readily be described as fantasies, each with its own sound-world but linked by shared material. The mood of each of these short movements is guided by an imaginary landscape, one shadowed by the blackened tree, a far-away song, shadows past, a quickening moon, forgotten voices, and by the harrowed land. The title of the last movement plays on the word harrow, something that is used to break up the soil, but also bringing with it suggestions of a land both pained and wounded.