Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(BA.BA10418-85).
ISBN
9790006564699. 32.5 x
25.5 cm inches. Key: G
major.
Mendelssohn'
s Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Harpsichord (Harpsichord) SKU: HL.51481381 Urtext Edition, Piano Reduc...(+)
Harpsichord (Harpsichord)
SKU: HL.51481381
Urtext Edition, Piano
Reduction. Composed
by Johann Sebastian Bach.
Edited by Matan Entin,
Norbert Mü, and
llemann. Henle Music
Folios. Classical.
Softcover. 46 pages. G.
Henle #HN1381. Published
by G. Henle
(HL.51481381).
UPC:
196288019442.
9.25x12.25x0.16
inches.
Johannes
Umbreit (piano
reduction); Michael
Schneidt (fingering) Two
copies needed for
performance It is almost
impossible to tell from
listening to them that
Bach's extremely popular
concerti for harpsichord
were probably his own
transcriptions of solo
concerti which had
originally been composed
for violin or a woodwind
instrument. The outer
movements of the second
concerto, in E major,
probably written around
1738, sparkle with joy,
while the expressive
melodic lines of the
middle movement, the
Siciliano in C-sharp
minor, transport the
listener to the realm of
his Passion music. G.
Henle Publishers presents
this repertoire standard
in an Urtext edition with
an extensive commentary.
The study edition (HN
7381) features the
complete orchestral
score; the piano
reduction (HN 1381)
contains the solo part as
well as a very playable
piano reduction of the
score prepared by
Johannes Umbreit for
practical use.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Flute and Piano (FLUTE AND PI) SKU: HL.50488067 By Janos Szebenyi. By Fra...(+)
Flute and Piano (FLUTE
AND PI)
SKU:
HL.50488067
By Janos
Szebenyi. By Franz Anton
Rosler Rosetti. Baroque.
EMB. Book [Softcover].
Editio Musica Budapest
#Z3948. Published by
Editio Musica Budapest
(HL.50488067).
ISBN
9790080039489. A/4
inches. Janos
Szebenyi.
Already
during his lifetime
Rossler-Rosetti enjoyed
great popularity. His
operas and symphonies
achieved great success,
most of them appeared in
printing. His Requiem was
first performed at Prague
at a memorial festival
dedicated to Mozart. He
composed several
concertos for piano,
violin, violoncello,
flute, clarinet, bassoon,
corno and various
ensembles. Out of his 14
flute concertos the here
published Concerto in G
major is to be found on
page 25 of the thematic
catalogue Breitkopf
supplement XII (1778).
The contemporary
handwritten orchestral
parts of the work are
preserved at the King
Stephen Museum at
Szekesfehervar. It got
into the possession of
the Museum in 1951 with
therich book- and
music-collection of the
family Verebi-Vegh.
Rossler-Rosetti
genoss noch bei Lebzeiten
grosse Popularitat. Seine
Opern und Sinfonien
erzielten grossen Erfolg,
ein beideutender Teil
davon ist auch im Druck
erschienen. Sein Requiem
wurde in Prag 1792
anlasslich der
Mozart-Gedenkfeierlichkei
t aufgefuhrt. Er
komponierte viele
Konzerte fur Klavier,
Violine, Violoncello,
Flote, Klarinette,
Fagott, Horn und
verschiedene Ensembles.
Von seinen vierzehn
Flotenkonzerten ist das
hier erscheinende G-Dur
Konzert in Breitkopfs
thematischem Katalog
Supplement XII (1778) auf
Seite 25 erwahnt. Das
Werk wird im
zeitgenossischen
Manuskript der
Orchesterstimmen im
Istvan Kiraly (Konig
Stephan) Museum zu
Szekesfehervar
aufbewahrt,wohin es 1951
mit der reichen Bucher-
und Notensammlung der
Familie Vegh von Vereb
gelangte.
Piano Accompaniment; Violin (Violin/Piano) - easy SKU: HL.49046262 Vio...(+)
Piano Accompaniment;
Violin (Violin/Piano) -
easy
SKU:
HL.49046262
Violin
and Piano. Edited by
Peter Mohrs. This
edition: Saddle
stitching. Sheet music.
String Solo. Classical.
Softcover. Op. 15. 20
pages. Schott Music
#SE1042. Published by
Schott Music
(HL.49046262).
ISBN
9783795716660. UPC:
888680954178.
9.0x12.0x0.067 inches.
German - English -
French.
Ferdinand
Küchler is regarded as
one of the great violin
teachers of the 20th
century. Apart from his
Violin Method, it is,
above all, his
concertinos that are an
absolute must for the
development of any violin
pupil, especially his
famous Concertino in G
major Op. 11 (Schott SE
1001) as well as his
Concertino in D major Op.
15 which both enjoy great
popularity. Composed
“in the style of
Antonio Vivaldiâ€,
the work has, without
doubt, been one of the
most frequently played
works in student violin
literature for decades.
It is the perfect
educational link to
Vivaldi's somewhat more
difficult “student
concertosâ€. The
completely baroque-style
movements appeal to every
pupil. The fast outer
movements contain
rewarding, always
seemingly violinistic
runs and idiomatic
figurations. The appeal
of the slow middle
movement lies in its
simple, yet tonally
demanding Siciliano
theme. The works requires
knowledge of the 2nd and
3rd positions and is here
presented in a new modern
edition. Bowing,
articulation and
fingerings are based on
today's experience of
interpreting Vivaldi's
music, providing creative
space and possibilities
for personal ideas in
modern violin lessons.
This edition is part of
the new Schott Student
Edition series which
offers varied literature
at five different levels
of difficulty,from 1
(easy) to 5 (difficult),
for instrumental lessons.
For more information see
www.schott-student-editio
n.com.
Second violin (2. Violin) SKU: BA.BA04203-75 Composed by George Frideric ...(+)
Second violin (2. Violin)
SKU: BA.BA04203-75
Composed by George
Frideric Handel. Edited
by Frederik Hudson. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
3/3, HWV 314. 5 pages.
Baerenreiter Verlag
#BA04203_75. Published by
Baerenreiter Verlag
(BA.BA04203-75).
ISBN
9790006445028. 32.5 x
25.5 cm inches. Key: G
major.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 1. Published by Last
Resort Music Publishing.
Edited by Albert Dunning, composed by Pietro Antonio Locatelli (1695-1764). Pian...(+)
Edited by Albert Dunning,
composed by Pietro
Antonio Locatelli
(1695-1764). Piano
reduction and solo part
for violin and orchestra.
Based on the Complete
Edition of the works of
Pietro Antonio Locatelli,
edited under the
direction of Albert
Dunning. Volume III:
L'Arte del Violino. 46
pages. Published by
Schott.
Urtext. Composed
by Pjotr Iljitsch
Tschaikowsky. Edited by
Ernst Herttrich.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Romantic. Part.
16 pages. Duration 33'.
Breitkopf and Haertel #OB
15115-15. Published by
Breitkopf and Haertel
(BR.OB-15115-15).
ISBN
9790004340646. 10 x 12.5
inches.
Tchaikovsky
had the printing of his
epoch-making violin
concerto supervised with
great care, and he even
examined the proofs
himself for the
publication of the
version for violin and
piano in 1878, which was
followed by the
orchestral parts the
following year and the
score in 1888. After many
editions and respective
arrangements by Leopold
Auer in 1899, Fritz
Kreisler in 1939 and,
most recently, by
Konstantin G. Mostras and
David Oistrakh, based on
Auer comes an Urtext
edition that takes into
account all surviving
sources and critically
evaluates them, a matter
of great importance for
both scholars and
performing artists.
High Performance Flute Flûte à bec, Flute, Accordéon [Partition + CD] - Facile AMA Verlag
By Robert Winn. For Flute. Method. AMA Verlag. All Styles. Level: Beginning-Inte...(+)
By Robert Winn. For
Flute. Method. AMA
Verlag. All Styles.
Level:
Beginning-Intermediate.
Book/CD Set. Size 9x12.
144 pages. Published by
AMA Verlag. ISBN
3932587723.
Piano SKU: HL.14003761 Vonbulow-Lebert. Composed by Ludwig van Bee...(+)
Piano
SKU:
HL.14003761
Vonbulow-Lebert.
Composed by Ludwig van
Beethoven. Music Sales
America. Classical.
Score. Composed 2002. 10
pages. Edition Wilhelm
Hansen #WH04370.
Published by Edition
Wilhelm Hansen
(HL.14003761).
8.25x11.75x0.118
inches.
English.
The Piano
Sonata No. 25 in G Major
(Op. 79) was written in
1809, and first published
in 1810. Sometimes
referred to as the Cuckoo
Sonata , it is scored in
three movements: Presto
Alla Tedesca - Andante -
Vivace . It is one of
Beethoven's shorter
sonatas, taking only ten
minutes to perform.
Ludwig van Beethoven
(1770 - 1827) was a
German composer and
pianist, and arguably the
most famous composer of
all time. He was the last
great figure of the
Classical era, and helped
pave the way for the
Romantic style that
followed. His
compositions include 9
Symphonies, 5 Piano
Concertos, 1 Violin
Concerto, 32 Piano
Sonatas, and 16 String
Quartets.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. This edition:
violin 2. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
When and where did
Mozart write his Flute
Concerto, and for whom?
Was it in 1777 or 1778?
In Salzburg or in
Mannheim? And how much
did Ferdinand Dejean
actually pay for it: 96
gulden or the promised
200 gulden?
Solo
concerto; Classical.
Part. 8 pages. Duration
25'. Breitkopf and
Haertel #OB 5295-16.
Published by Breitkopf
and Haertel
(BR.OB-5295-16).
ISBN
9790004338414. 10 x 12.5
inches.
When and
where did Mozart write
his Flute Concerto, and
for whom? Was it in 1777
or 1778? In Salzburg or
in Mannheim? And how much
did Ferdinand Dejean
actually pay for it: 96
gulden or the promised
200 gulden? Henrik Wiese
sheds new light into the
confusion wrought by
Mozart himself. Wiese,
solo flutist of the
Bavarian State Orchestra,
has made an outstanding
name for himself as
soloist and editor, and
is viewed in professional
circles as one of the
best specialists of
Mozart's wind works. He
has focused on the work's
genesis, but especially
on the music text, having
consulted all known
scribal copies of the
work and all available
copies of the first
edition. The version for
flute and piano also
contains a facsimile of
the solo part from the
first edition as well as
cadenzas which stem from
the earliest hand-written
sources or which were
composed by the editor in
Mozart's
style.
When and
where did Mozart write
his Flute Concerto, and
for whom? Was it in 1777
or 1778? In Salzburg or
in Mannheim? And how much
did Ferdinand Dejean
actually pay for it: 96
gulden or the promised
200 gulden?
Violin, piano SKU: BR.SON-454 Complete Works. Composed by Felix Ba...(+)
Violin, piano
SKU:
BR.SON-454
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Birgit Muller.
Solo instruments; Linen.
Complete Works. Romantic
period. Complete Works.
Breitkopf and Haertel
#SON 454. Published by
Breitkopf and Haertel
(BR.SON-454).
ISBN
9790004803646. 9 x 12
inches.
The Violin
Concerto in E minor, op.
64, and the Sonata in F
minor, op. 4, are the
only works for solo
violin that Mendelssohn
had had printed during
his lifetime. However,
his complete oeuvre
includes other completed
or fragmentary
compositions, including
two further concertos and
several unfinished
sonatas and other
individual pieces. He
himself had an
extraordinary command of
the violin and entrusted
the instrument in several
other works, such as the
Octet op. 20 or the
concert aria Infelice! -
Ah, ritorno, eta
dell'oro, with special
tasks. Nevertheless, with
regard to details of
playing technique, he
usually sought advice
from solo violinist
friends, first from
Eduard Ritz, then, after
Ritz's early death, from
Ferdinand David. The
present volume contains
all of the completed and
fragmentary compositions
for violin and piano that
have survived - from the
early Prelude and Fugue
in D and G minor from
Zelter's practice book
(1820), which can be
assigned without doubt,
through to the Sonata in
F major (1838) in their
various versions.
Piano - Easy-Intermediate SKU: YM.GTP01098166 Keyboard. Arranged Classic....(+)
Piano - Easy-Intermediate
SKU:
YM.GTP01098166
Keyboard. Arranged
Classic. Score. Yamaha
Music Media #GTP01098166.
Published by Yamaha Music
Media (YM.GTP01098166).
ISBN
9784636981667.
Ther
e are many music sheet
books available for
children, but not many
for adults who have just
started playing the
piano. The Otona Piano
series is designed for
those adults who are
beginner piano players.
Here is a great
piano collection for
those who want to take
their piano playing to
the next level! It is
also a great selection
for live
performances!
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). The
piano concerto in Urtext
- In Cooperation with G.
Henle Verlag EB 10660 is
printed in score form;
two copies are needed for
performance. Solo
concerto; Romantic. Set
of parts. 92 pages.
Duration 30'. Breitkopf
and Haertel #OB 15121-30.
Published by Breitkopf
and Haertel
(BR.OB-15121-30).
ISBN
9790004340172. 10 x 12.5
inches.
Schumann's
A minor concerto is
considered as the
ultimate romantic piano
concerto. Since the
Schumann anniversary year
2010, musicians will be
able to base their
performance on a complete
Urtext edition. The state
of the sources is
unfortunately patchy, as
the original version of
the first movement, a
Phantasie of 1841 that
was given two trial
performances, can no
longer be reconstructed.
On the other hand, the
posthumously published
score raises certain
questions, since it
diverges from the
editions (solo part and
orchestral parts)
authorized by Schumann
and published in 1846,
after the first
performance. The pianist
Mitsuko Uchida
contributed the fingering
for the version for two
pianos. Schumann's great
solo concertos are thus
available in their
entirety from Breitkopf,
in editions prepared with
the expert help of major
interpreters: the Cello
Concerto with Heinrich
Schiff and the Violin
Concerto with Thomas
Zehetmair. Dans
l'incomparable qualite de
gravure de la plus
ancienne maison d'edition
musicale au monde!
(L'education
musicale).
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music Publishing.
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano concerto in Urtext
- In Cooperation with G.
Henle Verlag EB 10660 is
printed in score form;
two copies are needed for
performance. Solo
concerto; Romantic. Part.
12 pages. Duration 30'.
Breitkopf and Haertel #OB
15121-16. Published by
Breitkopf and Haertel
(BR.OB-15121-16).
ISBN
9790004340134. 10 x 12.5
inches.
Schumann's
A minor concerto is
considered as the
ultimate romantic piano
concerto. Since the
Schumann anniversary year
2010, musicians will be
able to base their
performance on a complete
Urtext edition. The state
of the sources is
unfortunately patchy, as
the original version of
the first movement, a
Phantasie of 1841 that
was given two trial
performances, can no
longer be reconstructed.
On the other hand, the
posthumously published
score raises certain
questions, since it
diverges from the
editions (solo part and
orchestral parts)
authorized by Schumann
and published in 1846,
after the first
performance. The pianist
Mitsuko Uchida
contributed the fingering
for the version for two
pianos. Schumann's great
solo concertos are thus
available in their
entirety from Breitkopf,
in editions prepared with
the expert help of major
interpreters: the Cello
Concerto with Heinrich
Schiff and the Violin
Concerto with Thomas
Zehetmair. Dans
l'incomparable qualite de
gravure de la plus
ancienne maison d'edition
musicale au monde!
(L'education
musicale).
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano concerto in Urtext
- In Cooperation with G.
Henle Verlag EB 10660 is
printed in score form;
two copies are needed for
performance. Solo
concerto; Romantic. Part.
12 pages. Duration 30'.
Breitkopf and Haertel #OB
15121-15. Published by
Breitkopf and Haertel
(BR.OB-15121-15).
ISBN
9790004340127. 10 x 12.5
inches.
Schumann's
A minor concerto is
considered as the
ultimate romantic piano
concerto. Since the
Schumann anniversary year
2010, musicians will be
able to base their
performance on a complete
Urtext edition. The state
of the sources is
unfortunately patchy, as
the original version of
the first movement, a
Phantasie of 1841 that
was given two trial
performances, can no
longer be reconstructed.
On the other hand, the
posthumously published
score raises certain
questions, since it
diverges from the
editions (solo part and
orchestral parts)
authorized by Schumann
and published in 1846,
after the first
performance. The pianist
Mitsuko Uchida
contributed the fingering
for the version for two
pianos. Schumann's great
solo concertos are thus
available in their
entirety from Breitkopf,
in editions prepared with
the expert help of major
interpreters: the Cello
Concerto with Heinrich
Schiff and the Violin
Concerto with Thomas
Zehetmair. Dans
l'incomparable qualite de
gravure de la plus
ancienne maison d'edition
musicale au monde!
(L'education
musicale).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Ludwig van
Beethoven. Edited by
Bathia Churgin.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
The study score
(Studien-Edition) is
available at G. Henle
Verlag.
Symphony;
Classical. Part. 12
pages. Duration 28'.
Breitkopf and Haertel #OB
14614-27. Published by
Breitkopf and Haertel
(BR.OB-14614-27).
ISBN
9790004343593. 10 x 12.5
inches.
The genesis
of Beethoven's 4th
symphony came at an
extraordinary time for
the composer not only
regarding productivity:
Thus, in 1806 he
composed, among other
things, the 4th piano
concerto, the three
Rasumovsky string
quartets op. 59, the 32
piano variations in c
minor WoO 80, as well as
the violin concerto op.
61. The first performance
of the B-flat-major
symphony occurred in
March 1807 at one of the
two noteworthy
subscription concerts
conducted by Beethoven in
the Palais Lobkowitz in
Vienna. In the course of
time, this
intellectually-stimulatin
g work- so described by
one of the reviewers of
the Allgemeine
musikalische Zeitung -
found ever-increasing
appeal. Throughout the
entire 19th century this
symphony ranked with the
best-loved and most
frequently performed
works; its popularity
spread to England where
the London Philharmonic
Society played it at
least 25 times in the
period between 1813 and
1850.Extant are only a
few drafts of the 4th
symphony. The autograph
served as the main source
for the present edition
edited by Prof. Bathia
Churgin, likewise editor
of the 3rd symphony in
the new Beethoven
Complete Edition.
Consulted as reference
sources were copies of
the score and orchestral
parts as well as the
original edition of the
parts.
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano concerto in Urtext
- In Cooperation with G.
Henle Verlag EB 10660 is
printed in score form;
two copies are needed for
performance. Solo
concerto; Romantic. Part.
12 pages. Duration 30'.
Breitkopf and Haertel #OB
15121-19. Published by
Breitkopf and Haertel
(BR.OB-15121-19).
ISBN
9790004340141. 10 x 12.5
inches.
Schumann's
A minor concerto is
considered as the
ultimate romantic piano
concerto. Since the
Schumann anniversary year
2010, musicians will be
able to base their
performance on a complete
Urtext edition. The state
of the sources is
unfortunately patchy, as
the original version of
the first movement, a
Phantasie of 1841 that
was given two trial
performances, can no
longer be reconstructed.
On the other hand, the
posthumously published
score raises certain
questions, since it
diverges from the
editions (solo part and
orchestral parts)
authorized by Schumann
and published in 1846,
after the first
performance. The pianist
Mitsuko Uchida
contributed the fingering
for the version for two
pianos. Schumann's great
solo concertos are thus
available in their
entirety from Breitkopf,
in editions prepared with
the expert help of major
interpreters: the Cello
Concerto with Heinrich
Schiff and the Violin
Concerto with Thomas
Zehetmair. Dans
l'incomparable qualite de
gravure de la plus
ancienne maison d'edition
musicale au monde!
(L'education
musicale).
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano concerto in Urtext
- In Cooperation with G.
Henle Verlag EB 10660 is
printed in score form;
two copies are needed for
performance. Solo
concerto; Romantic. Part.
12 pages. Duration 30'.
Breitkopf and Haertel #OB
15121-23. Published by
Breitkopf and Haertel
(BR.OB-15121-23).
ISBN
9790004340158. 10 x 12.5
inches.
Schumann's
A minor concerto is
considered as the
ultimate romantic piano
concerto. Since the
Schumann anniversary year
2010, musicians will be
able to base their
performance on a complete
Urtext edition. The state
of the sources is
unfortunately patchy, as
the original version of
the first movement, a
Phantasie of 1841 that
was given two trial
performances, can no
longer be reconstructed.
On the other hand, the
posthumously published
score raises certain
questions, since it
diverges from the
editions (solo part and
orchestral parts)
authorized by Schumann
and published in 1846,
after the first
performance. The pianist
Mitsuko Uchida
contributed the fingering
for the version for two
pianos. Schumann's great
solo concertos are thus
available in their
entirety from Breitkopf,
in editions prepared with
the expert help of major
interpreters: the Cello
Concerto with Heinrich
Schiff and the Violin
Concerto with Thomas
Zehetmair. Dans
l'incomparable qualite de
gravure de la plus
ancienne maison d'edition
musicale au monde!
(L'education
musicale).