Classical. According to his dating of the autograph, Haydn composed the Symphony no. 89 in F major in 1787, just one year after the six so-called Paris symphonies. It was written, together with its sister work, the G-major Symphony no. 88, for the violinist Johann Tost, who sold it to the Parisian publisher Sieber. In both works, Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration, richness of musical ideas and details, and an idiosyncratic, multicolou...
Classical. Haydn's three Symphonies nos. 90-92 might rightly be dubbed his "Paris Symphonies Part II", as they were commissioned in 1788/89, likewise by the Soci‚t‚ Olympique, for which Haydn had already composed his six "Paris Symphonies" nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he "receive 3 new symphonies from him". Regardless of such mercantile entanglements, Haydn shows himself t...
Classical. Haydn's three Symphonies nos. 90-92 might rightly be dubbed his "Paris Symphonies Part II", as they were commissioned in 1788/89, likewise by the Soci‚t‚ Olympique, for which Haydn had already composed his six "Paris Symphonies" nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he "receive 3 new symphonies from him". Regardless of such mercantile entanglements, Haydn shows himself t...
Classical. Haydn's three Symphonies nos. 90-92 might rightly be dubbed his "Paris Symphonies Part II", as they were commissioned in 1788/89, likewise by the Soci‚t‚ Olympique, for which Haydn had already composed his six "Paris Symphonies" nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he "receive 3 new symphonies from him". Regardless of such mercantile entanglements, Haydn shows himself t...
Classical. Haydn's three Symphonies nos. 90-92 might rightly be dubbed his "Paris Symphonies Part II", as they were commissioned in 1788/89, likewise by the Soci‚t‚ Olympique, for which Haydn had already composed his six "Paris Symphonies" nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he "receive 3 new symphonies from him". Regardless of such mercantile entanglements, Haydn shows himself t...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. To this day, the G-major symphony, first performed in March 1792, numbers among Haydn's most popular works. It owes its English nickname "Surprise" to the striking tutti chords in the Andante, which apparent...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (butby no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodi...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, "The Miracle", was bestowed erroneously, for the miracle -...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. In his C-major symphony, performed for the first time in May 1792, Haydn bestowed a particular honour on Salomon, who was also the leader of the orchestra: At the end of the minuet, he wrote a little solo in...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The first performance of the B-flat-major Symphony no. 98 in 1792 was so successful that the two allegro outer movements even had to be repeated. Haydn led the performance - as was customary - from a keyboar...
Classical. Haydn arrived in London at the beginning of February 1794 for his second stay in England. At this point in time, the Symphony in E-flat major Hob. I:99 had already been completed and was premiered on 10 February. Audiences and the press were enthusiastic, as a review from the following day shows, "It is one of the grandest efforts of art that we ever witnessed. [...] - It was received with rapturous applause." Thus, an exceptional work in every sense, also for the first use of clarinet...
Classical. Haydn arrived in London at the beginning of February 1794 for his second stay in England. Two movements of the Symphony in G major Hob. I:100 had already been completed by then, and the finished work was premiered on 31 March. The trumpet fanfare in the second movement and the use of "janissary" percussion gave the symphony its nickname "Military Symphony," which Haydn himself even used. Its success in London was enormous; in 1794/95 alone, the work was performed nine times and thus qu...
Classical. Haydn arrived in London at the beginning of February 1794 for his second stay in England. By this time, he had completed three movements of the Symphony in D major Hob. I:101, and the finished work was premiered on 3 March. Even the members ofthe audience at the premiere took note of the pendulum-like accompanying figure in the second movement, which was in fact explicitly mentioned in a review: "The management of the accompaniments of the andante, though perfectly simple, was masterly...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic, surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally, Haydn here dispenses with the clarinets that are otherwise general...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning; a solo drumroll in the timpani ushers in the slow introduction. ...
Classical. The twelve "London Symphonies" comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the "London Symphonies" in early 1795 and is not only the concluding work, but also the highlight of Haydn's symphonic output overall. It firmly establi...
Romantic. One of the greatest piano virtuosos of all time, Franz Liszt composed piano music marked by its technical brilliance, innovation, and imagination. This collection presents authoritative miniature score editions of two staples of the repertoire:Liszt's Piano Concerto No. 1 in E-flat Major and his Piano Concerto No. 2 in A Major. The works are reproduced here from authoritative editions, complete with bar-numbered movements for easy reference. Affordable, durable, and portable, this minia...
Following the revision of Henle's facsimile of the Piano Sonata in B minor (51483227) in 2015, they now present the corresponding new Urtext edition. With the help of the splendid facsimile reproduction they were able to analyze several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt's, in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understandin...
Dover reprint from early standard editions. Two standards of the Romantic repertoire for piano and orchestra are available here for the first time in a single volume. Liszt's symphonic poem Totentanz (Dance of Death) consists of six variations on the familiar Gregorian "Dies Irae" plainchant melody. His Fantasy on Hungarian Folk Tunes displays the same lyric grace and vital rhythms as his famous Hungarian Rhapsodies. Full score only - parts not included.
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This new edition of Mahler's great 4th symphony takes us to a point where the numerous stages of reworking and countless reading errors, misunderstandings, further printing errors and contradictions missed by Mahler himself, in addition to the final version of the score, have been considered and evaluated. The new, computer-based score generation required several rounds of precise proofreading; all editorial decisions are outlined transparently in an extensive critical commentary. A preface on it...
Dover reprint. Includes all of Mendelssohn's chamber music: Octet, 2 Quintets, 6 Quartets, and Four Pieces for String Quartet. (Nothing with piano is included.) Reprinted from 1874-77 Complete Works edition.
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Mendelssohns Double Concerto in D minor is no longer an unfamiliar title on our concert programs. It takes on a new guise, however, in this volume of the Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy: the work is now supplemented by 12 winds and timpani, which the composer himself notated in a separate wind score. Since this partial score was rediscovered only a short while ago, all the recordings available to this day feature only a string orchestra accompanying the soloists. Assum...
The new Breitkopf Urtext edition presents the music text of the Leipziger Mendelssohn-Ausgabe, which was able to take into consideration the newly accessible autograph score for the first time. Moreover, the bilingual piano-vocal score contains the first-ever correct underlay of the English vocal text which William Bartholomew worked out in close collaboration with Mendelssohn. -the publisher
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Dover reprint of early published editions. Upon hearing the first trio, Robert Schumann declared "Mendelssohn is the Mozart of the nineteenth century!" Written in the composer's famously flowing Romantic style, these two works are staples of the repertoire and anchors of many chamber music series. Both appear here for the first time in a single and affordable study edition. Mendelssohn drew upon a variety of influences in his musical style--chiefly Bach, Mozart, and Beethoven. Like the other Germ...
Romantic. The genesis of Mendelssohn's string quintets is closely connected to his friend Eduard Rietz and the latter's brother Julius. Deeply affected by Eduard's death in 1832, Mendelssohn exchanged the “Minuetto” movement in his A major Quintet op. 18, written six years previously, for a newly composed adagio. It was in this form that the work was finally sent to the publisher. The Quintet in B flat major was only published after Mendelssohn's death; numerous, unauthorized entries by Julius Ri...
In this staple of the orchestral repertoire, Mendelssohn interprets the Reformation in symphonic terms, building to a powerful series of variations on Martin Luther's confessional chorale, Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God). This miniature score is reproduced from an authoritative edition, complete with numbered movements for easy reference. Affordable and compact, it is ideal for use in the classroom, at home, or in the concert hall. Reprint of the Breitkopf and H„rtel,...