SKU: BR.EB-8029

ISBN 9790004174326. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.

SKU: FT.FM062

ISBN 9790708085614.

Flut e Choir/Ensemble Piccolo, optional G treble, 4 flutes, alto flute, bass flute, optional contr'alto flute, contrabass flute. This is a full arrangement of the Danses Characteristiques from Tchaikovsky's Nutcracker Suite. Full of well known tunes these character pieces give larger flute choirs a chance to show their range and flexibility, from the speed and excitement of the Trepak to the sinuous melodic lines of the Danse Arabe. The parts are graduated, with flute 1 being the hardest and flute four the easiest (about grade 3). Includes the famous flute feature, the Danses des Mirlitions.

SKU: BR.EB-8033

ISBN 9790004174364. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.

SKU: HL.50512030

ISBN 9790080147603. A/4 inches. Laszlo Dubrovay.

This work, composed in 1971, was intended for professional performers. It was written with post-Webern, free twelve-tone technique; its sound is characterized by frequent use of all twelve notes in the construction of the harmony, and by wide spacing of dissonant intervals or the crowding of them into dense blocks. These short character pieces contain a great variety of gestures and emotions, ranging from witty playfulness through violent -Sturm und Drang- behaviour that shatters every framework, to mournful lamentation and hope of hymnic redemption.

SKU: BT.EMBZ14760

This work, composed in 1971, was intended for professional performers. It was written with post-Webern, free twelve-tone technique its sound is characterized by frequent use of all twelve notes in the construction of the harmony, and by wide spacing of dissonant intervals or the crowding of them into dense blocks. These short character pieces contain a great variety of gestures and emotions, ranging from witty playfulness through violent Sturm und Drang behaviour that shatters every framework, to mournful lamentation and hope of hymnic redemption.

Das 1971 komponierte Werk entstand für professionelle Interpreten. Bei seiner Komposition wurde die post-Webernsche, freie Zwölftontechnik angewandt. Seine Klangwelt wird durch den Zusammenbau aller zwölf Töne zu einer Harmonie, durch die Positionierung der dissonanten Tonintervalle in weiten Lagen oder deren Komprimierung in große Blocks charakterisiert. Die kurzen Charakterstücke beinhalten viele Gesten und Emotionen, die von der witzigen Verspieltheit über das aggressive, jegliche Rahmen zersprengendes Sturm und Drang-Verhalten, bis hin zum Trauerlied und der hymnischen Erlösungshoffnung reichen.

SKU: HL.49018949

ISBN 9790001152259.

Herm ann Schroeder (1904-1984) is one of the best-known German organ composers of the 20th century. His late piano work Funf Charaktere (1974) is based less on contrapuntal and neo-classical composition techniques (like the two early piano sonatas) but rather on the tonal possibilities of the piano. The five movements which live on the changes of different tempos and emotions bear titles that refer to the mood and the character of the music: Capriccio - Legende - Scherzando - Elegie - Burleske. Thus, the pieces are not far away from being Romantic character pieces. Funf Charaktere is published as printed edition for the first time, based on the autograph left in the composer's estate.

SKU: AP.36-M407191

ISBN 9781638870609. UPC: 753625230610. English.

This unique collection of Indian character pieces reveals a genre that has been neglected for many years, with much of the music having been out of print since the 1920's. Musically, the pieces are appealing to play and are a fascinating reflection of social and political issues our nation was facing at the turn of the 20th century. Contains detailed historical notes on this nearly forgotten aspect of American classical music, along with supplementary fingerings and practice suggestions added throughout by editor Stephanie Bruning, professor at Morgan State University, who is both a celebrated piano performer and expert in piano pedagogy.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-50760008

ISBN 9781621563068. UPC: 654690491695. English. Traditional Traditional.

This unique collection of Indian character pieces reveals a genre that has been neglected for many years, with much of the music having been out of print since the 1920's. Musically, the pieces are appealing to play and are a fascinating reflection of social and political issues our nation was facing at the turn of the 20th century. Contains detailed historical notes on this nearly forgotten aspect of American classical music, along with supplementary fingerings and practice suggestions added throughout by editor Stephanie Bruning, professor at Morgan State University, who is both a celebrated piano performer and expert in piano pedagogy.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HH.HH301-SOL

ISBN 9790708092506.

The second volume of keyboard music from the reclusive Carl Fasch contains two unpublished sonatas (one unusually in the key of B flat minor) and his considerable output of character pieces, short descriptive works which justify contemporary opinion that he was the true successor to C.P.E. Bach. These individual vignettes are ideal for playing on either clavichord or fortepiano and provide an expressive foil to the more extrovert and extended sonatas in the first volume. The third and final voume will contain all Fasch’s keyboard variations. .

SKU: HL.51481525

UPC: 840126989762. 9.0x12.0x0.296 inches.

The Fantasy Pieces op. 88 are Schumann's first contribution to the genre of the piano trio and date from his very prolific “chamber music year” 1842. However, Schumann needed an unusually long time to give the work its final form: the Fantasy Pieces were released only in the autumn of 1850 after several revisions. The brevity and the modest technical demands of the four charming character pieces make them an ideal entry into the world of Schumann's chamber music also for non-professional musicians. The Fantasy Pieces, taken from the volume Schumann • Piano Trios HN 916, are now available from Henle for the first time also as a practical single edition.

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SKU: BR.EB-6761

ISBN 9790004169629. 9 x 12 inches.

This series of easy piano pieces for teaching purposes presents pupils in the early and early-middle stages with a careful selection from well-known and less-known compositions by important masters. The individual volumes are deliberately kept small in extent, since it is more stimulating for children if the literature used for instruction is changed frequently. Of all Grieg's piano music, it is the Lyric Pieces (EB 8832) that enjoy the greatest popularity. These character pieces, which are very varied in their difficulty and their length, preoccupied the composer throughout his creative life. The easiest pieces from the first three books (op. 12, 38 and 43) have been chosen for the present volume. In the musical sense, however, they are by no means light-weight. Only someone who has made the art of playing expressively in the Romantic style his own with the help of Schumann's Scenes from childhood (EB 8436) will be able to interpret this poetry filled with the soul of nordic peoples appropriately. Interpretative indications have been partly added to; fingerings and the distribution of the music between the hands have, as far as possible, been adapted to smaller hands. Sensitive use of the pedal and a tempo rubato imbued with the sense of the music are prerequisites. Heinz Walter, Salzburg, Summer 1977.