Horn and piano SKU: BR.EB-32113 Urtext. Composed by Camillo Schuma...(+)
Horn and piano
SKU:
BR.EB-32113
Urtext. Composed
by Camillo Schumann. Solo
instruments; stapled.
Edition Breitkopf.
The
first edition of a
forgotten treasure
Sonata; Late-romantic.
Score. 48 pages.
Breitkopf and Haertel #EB
32113. Published by
Breitkopf and Haertel
(BR.EB-32113).
ISBN
9790004186787. 9 x 12
inches.
Schumann's
horn sonatas were
composed in 1936/37.
Considering the slim
repertoire offered horn
players from this period,
it is more than
surprising that these two
masterpieces could have
slumbered for so long.
Both sonatas are similar
in structure, with op.
118 being one Schumann's
few three-movement
sonatas. The first
movements of the pieces
sparkle with
melancholically lyrical
melodies, whereas
passages strongly marked
rhythmically, variously
shape the two outer
movements. Virtuoso
moments can be found,
respectively, in the
final movements, bringing
the works to a brilliant
close. The horn parts
predominantly range
within the full, sonorous
middle register, where
occasional outbursts up
to the notated a flat''
are also not lacking. The
clever handling of the
balance of sounds, the
possibilities on the
early valve horn as well
as the inner interweaving
of themes differentiating
horn and piano make the
sonatas an exceedingly
vivid testimony to
Schumann's mature
compositional
art.
Schumann's
horn sonatas are a
crucial enhancement to
each horn player's
repertoire. The first
edition of a forgotten
treasure.
Horn and piano (solo: hn - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10702 U...(+)
Horn and piano (solo: hn
- 0.2.0.0 - 2.0.0.0 -
str)
SKU:
BR.EB-10702
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Arranged by Jan
Philip Schulze. Solo
instruments; stapled.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Classical. Piano
reduction. 40 pages.
Duration 15'. Breitkopf
and Haertel #EB 10702.
Published by Breitkopf
and Haertel
(BR.EB-10702).
ISBN
9790201807027. 9.5 x 12.5
inches.
Wolfgang
Amadeus Mozart's horn
concertos: the Mozart
expert Henrik Wiese edits
the central work genre of
Viennese classicism
according to the current
status of international
Mozart research. Mozart
wrote the Horn Concerto
K. 417 - like the other
works of this genre as
well - for his
horn-playing friend
Joseph Leutgeb. The jokes
which the composer made
at Leutgeb's expense are
wellknown. For example,
he called the dedicatee a
donkey in the autograph,
and, as Henrik Wiese
evidences in his preface,
Mozart also occasionally
enjoyed a bit of
tomfoolery with the
soloist in the musical
text as well.Otherwise
the editor's task was
anything but amusing. The
main source - the
autograph score - is
incomplete: missing are
the close of Movement I
as well as the entire
slow middle movement. For
these two sections, Wiese
used a copy of the score
from the archive of the
publisher Johann Andre.
The unusual circumstance
that Mozart generally
left the horn part almost
unmarked recurs in the
Concerto K. 417 and was
deliberately maintained
in the Urtext
edition.
Horn and piano SKU: BR.EB-32114 Urtext. Composed by Camillo Schuma...(+)
Horn and piano
SKU:
BR.EB-32114
Urtext. Composed
by Camillo Schumann. Solo
instruments; stapled.
Edition Breitkopf.
The
first edition of a
forgotten treasureThis
edition contains the
original solo part for
horn in D as well as a
version for horn in
F.
Sonata;
Late-romantic. Score. 68
pages. Breitkopf and
Haertel #EB 32114.
Published by Breitkopf
and Haertel
(BR.EB-32114).
ISBN
9790004186794. 9 x 12
inches.
Schumann's
horn sonatas were
composed in 1936/37.
Considering the slim
repertoire offered horn
players from this period,
it is more than
surprising that these two
masterpieces could have
slumbered for so long.
Both sonatas are similar
in structure, with op.
118 being one Schumann's
few three-movement
sonatas. The first
movements of the pieces
sparkle with
melancholically lyrical
melodies, whereas
passages strongly marked
rhythmically, variously
shape the two outer
movements. Virtuoso
moments can be found,
respectively, in the
final movements, bringing
the works to a brilliant
close. The horn parts
predominantly range
within the full, sonorous
middle register, where
occasional outbursts up
to the notated a flat''
are also not lacking. The
clever handling of the
balance of sounds, the
possibilities on the
early valve horn as well
as the inner interweaving
of themes differentiating
horn and piano make the
sonatas an exceedingly
vivid testimony to
Schumann's mature
compositional
art.
Schumann's
horn sonatas are a
crucial enhancement to
each horn player's
repertoire.