Note-for-note piano, bass and drum transcriptions of eight great tunes performed by the formidable trio of Bill Evans, Scott LaFaro and Paul Motian. Includes: Alice in Wonderland • Autumn Leaves (Les Feuilles Mortes) • How Deep Is the Ocean (How High Is the Sky) • Nardis • Peri's Scope • Solar • Waltz for Debby • When I Fall in Love.
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| List | $29.99 |
Johannes Brahms' late chamber works are surely among the most splendid music ever written for the clarinet. In the last years of his life, Brahms seems to have become weary of composing – but fortunately for posterity, in 1891 he met the solo clarinettist of the Meiningen court orchestra, Richard Mühlfeld, whose mellifluous art of performance captivated him and inspired him to new works. The Trio, Op. 114 is melancholy and autumnal in character, and is loved by all clarinettists. It is now available from Henle in a revised edition. The musical text follows that of the New Brahms Complete Edition, and thus guarantees the highest degree of precision and reflects the current state of research. The pianist Klaus Schilde has added valuable fingerings to this Urtext edition.
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| List | $35.95 |
For Clarinet, Violin, Cello and Piano.
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| List | $22.95 |
For Clarinet, Violin, Cello and Piano.
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| List | $65.00 |
This trio's unusual scoring for horn, violin and piano prompted speculation early on about a possible background to it that had no connection with music. Brahms's biographer Max Kalbeck saw in it a lament for the composer's mother, recently deceased, to whom hehad supposedly played folk songs on the horn in his childhood. There is no doubt that Brahms loved the sound of the natural horn, and bestowed several of his most inspired melodies on the instrument. Horn players justifiably adore this Trio op. 40, and this Henle Urtext edition now offers an optimal basis for studying and performing this masterpiece. This edition follows the musical text of the New Brahms Complete Edition and thus guarantees the greatest fidelity to the sources and reflects the current state of research. The pianist Klaus Schilde has added helpful fingerings to the piano part. Extra parts are also provided for the alternative scoring authorised by Brahms (with viola or cello instead of horn).
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| List | $39.95 |
As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio, composed in 1914. Thus the “Passacaglia” movement corresponds to the underlying form of the Baroque Period. The music on the other hand was, according to Ravel, “like that of Saint-Saëns,” which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: from a constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianist Pascal Rogé.
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| List | $43.95 |
The cellist Robert Hausmann had actually requested a cello concerto - but Brahms paired the cello with a violin in his “Double Concerto”. The unusual work has already been available as part of the new Brahms Complete Edition for several years. Using Brahms' original piano reduction, Johannes Umbreit has produced a playable piano setting that optimally renders the colorfulness of the score. The fingerings and bowings for the string parts have been supplied by the experienced soloists Frank Peter Zimmermann and Heinrich Schiff. The orchestral parts, based on the Complete Edition, are available from Breitkopf & Härtel (PB/OB 16104).
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| List | $57.95 |
Straight-from-the-record transcriptions of eight more favorites as performed by these jazz all-stars: Come Rain or Come Shine • How My Heart Sings • Isn't It Romantic? • Israel • Re: Person I Knew • Show-Type Tune (Tune for a Lyric) • Stella by Starlight • 34 Skidoo.
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| List | $27.99 |
Note-for-note piano, bass and drum transcriptions of seven super tunes performed by Bill Evans, Marc Johnson and Joe La Barbera. Includes: Bill's Hit Tune • But Beautiful • For All We Know • Like Someone in Love • My Foolish Heart • My Romance • and The Two Lonely People, as well as a discography.
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| List | $24.95 |
“Favorite dish in exchange for favorite music” - this perfectly summarizes the genesis of the Konzertstücke. When the clarinettist Heinrich Joseph Baermann and his son Carl, who also played the basset horn, stopped to pay a visit to Felix Mendelssohn Bartholdy in 1832, they came to a most curious agreement: they promised their composer friend a generous portion of “Dampfnudeln” (steamed dumplings) and “Rahmstrudel” (sweet-cheese strudel) that Mendelssohn was mad about, if he were to write a piece for them which they could use on their concert tours. The Konzertstück in f minor that originated in this fashion was followed shortly afterwards by a second one in d minor. Both are extremely effective works which wonderfully bring out the unique sound and performance technique of the two instruments from the clarinet family.
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| List | $35.95 |
Nikolai Kapustin is considered a pioneer of the Soviet jazz scene. His music combines typical idioms of jazz with classical forms. The Trio op. 86 for flute, violoncello and piano from 1998 is one of the most popular chamber music works by Kapustin. He has recorded it himself together with Alexander Zagorinsky and Alexander Korneev on CD. Other recordings are available u.a. by the Emanuel Ensemble and the Trio Panta Rhei.
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| List | $48.00 |
Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier, inspired hit, the Trio for Clarinet Op. 3, written in 1896, owes a great deal to his first important role model Johannes Brahms as far as inflection and instrumentation are concerned. And it was none other than Brahms himself who enthusiastically recommended the trio to his publisher Simrock, following the first performance in Vienna. As the autograph has disappeared, our edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous, partly blatant engraver's errors. Alongside the piano score, our edition comprises a part for clarinet in Bb/A, an authentic alternative part for violin as well as a cello part.
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| List | $43.95 |
Dvorák worked longer and more intensively on this Trio than on just about any other chamber music work. After his first successes with pieces inspired by Czech folk music, namely the popular Slavonic Dances (51480757 and 51480918), he now wanted to prove himself as a composer of the highest order. This is why in the following summer, he thoroughly reworked the Trio that he had written within eight weeks in spring 1883 before giving it to his publisher. Although Brahms' music was the undeniable model for the new work, it did not hinder the unfolding of a very personal tone that blends expressiveness and passion. As with the “Dumky” Trio op. 90 (51480799), Andreas Groethuysen is once again responsible for the fingerings of the piano part.
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| List | $46.95 |
For two flutes and cello.
London, with its bustling musical scene, always provided Haydn with welcome surroundings at a time when the flute was extraordinarily popular among English amateurs. The Earl of Abingdon, an accomplished flautist, undoubtedly enjoyed playing these entertaining trios. Abingdon was a member of Haydn's circle of acquaintances in London and a composer in his own right: a theme from one of his songs (“The Lady's Mirror”) served Haydn for a set of variations in the second trio. Neither men could have foreseen the huge success that these cheerful and straightforward pieces would enjoy among music-lovers all over the world.
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| List | $35.95 |