This lovely collection of original violin trios was compiled by Rubank legends Harvey Whistler and Herman Hummel, and is still in use on many state contest lists. Each is the perfect length for competition. The programmatic titles chosen by the editors describe each piece's innate style: Trio Brillante, Trio Caprice, Trio de Ballet, Trio Elegante, Trio Impromptu, Trio Pastorale, to name a few out of this collection of 25.
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“In the evening we played Robert's E-flat major Quartet for the first time... and I was once again truly delighted at this beautiful and so youthful work,” enthused Clara Schumann in 1842. In preparation for this work Schumann had studied string quartets by the Viennese Classical composers. This is why all of the parts in the quartet are treated equally, forming a splendid ensemble. Our edition has an extensive critical commentary on account of the difficult source situation. The fold-out page in the cello part was designed with music practice in mind. The piano quartet and the piano quintet op. 44, referred to as “sister works”, were both composed in Schumann's “chamber music year”. For this reason we are publishing them both in the 2006 “Schumann Year”.
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The origins of Brahm's G minor Quartet op. 25 go back to the 1850s, although the work was not finished until fall 1861. The composer held his new work in high esteem, even putting it on the program of his first public appearance in Vienna as pianist and composer one year later. To this day it is the most popular of the three Brahms piano quartets, not least because of its dazzling final movement, a Rondo alla Zingarese.
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It is hardly imaginable today, but the Viennese public of Mozart's time was unable to appreciate the beauties of Mozart's Piano Quartet K. 478. It was not accustomed to the dramatic g minor character – especially of the first movement – coming from this composer. And thus it came about that the publisher Hoffmeister refused to print any further quartets; after K. 478, Mozart wrote only the E flat major Quartet K. 493, although a series of six works had originally been planned. What a pity! Today the two piano quartets rank among the landmarks of Mozartian chamber music and continue to enjoy a great status.
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This suite was recorded by Bolling, along with Yo-Yo Ma, one of the world's greatest cello players. Best suited for college-level and above players, Suite for Cello & Jazz Piano Trio has long been a best-selling recording that appeals to a variety of musical tastes. Includes parts for cello, piano, bass and drums.
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Brahms' Third Piano Quartet stands out for the extremely involved and complex history of its genesis. A very first version of certain sections – still in C# minor – had been written in 1855/56, but neither the composer nor his friends were genuinely happy with this version. In 1869 Brahms reprised his work, but still found no satisfying solution. It was not until 1874/75 that he brought the final version to paper, replacing the two movements of the original version with new ones. While the “tragic” key of C minor points to the truly dark, passionate character of the work, the composer actually singled out the mood of suffering of the quartet himself in several letters.
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After an early work and a discontinued attempt in 1831/32 Mendelssohn made his breakthrough in this important chamber music genre in the summer of 1839 with the Piano Trio in d minor op. 49, which was to be followed six years later by the Trio in c minor op. 66. On publication of the first trio, Schumann took the opportunity to describe the composer as the “Mozart of the 19th century,” whereby he was obviously alluding to the mixture of Classical and Romantic stylistic elements. The musical text of these two famous trios has been thoroughly revised to reflect the latest scholarly findings. In addition HN 1297 also includes a flute part for the alternative version of op. 49 (flute instead of violin) that Mendelssohn himself made.
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As with the G minor Quartet op. 25, the origins of opus 26 reach back into the 1850s. However, it assumed its final shape only in summer and fall 1861. While in her first evaluation of the work Clara Schumann felt that the piece would “grow on the listener once he knows it perfectly and has often heard it.” Brahms's friend Joseph Joachim wrote to him after a hasty perusal that he had “grown more and more favorable towards the A major Quartet. The tone of great intimacy and delicacy alternates beautifully with a fresh love of life.” With its use of a “brighter” key, opus 26 is clearly the more accessible of the two adjacent piano quartets.
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Includes grade 1-2 arrangements of works by J.S. Bach, Beethoven, R. Schumann, Grieg, Chopin, Haydn and Mozart.
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Was this skilfully composed work really written during a game of ninepins? The legend persists, although there is no reliable source. At all events the unusual instrumentation is of note: having a clarinet instead of the violin was by all means usual in piano trios; but in addition Mozart replaced the cello with a viola, his favourite instrument by his own admission. As a result the viola has a much stronger part than the cello usually has. Our single edition of this buoyant work was taken from the volume containing the complete piano trios (HN 247) which was revised and includes the latest scholarly findings.
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The idea for this, the penultimate work in Fauré's oeuvre, came in 1922 from his publisher Jacques Durand, who had published Ravel's famous Piano Trio just a few years earlier. Fauré initially did not get beyond sketching the work, and for a while he considered using a clarinet as an alternative to the violin. Only when he went to spend the summer in Annecy-le-Vieux in Savoy did Fauré succeed in writing the Andantino, the unusually extensive, elegiac middle movement of this Trio. The outer movements then followed in Paris the next winter. This late work by Fauré is notable for its clear lines and forms and for its balance between the piano and the string instruments. This Urtext edition is a significant addition to the French chamber music in the Urtext catalogue of G. Henle Publishers.
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Johann Pachelbel, born in Nuremberg in 1653, a generation before Bach, is one of Southern Germany's most important post-Reformation organ composers. His compositions were already widely known at the time. The most popular work today is probably the canon with ensuing gigue in D major. The canon – according to the source “a 3 Violinis con Basso c.” – is built up over an ostinato bass whose two bar figure is repeated a total of 28 times. The following short gigue is also in a strict contrapuntal style. It is not known when the work was composed. As with most of his other chamber music works, Pachelbel might have composed it during his time in Thuringia between 1677 and 1695. This pleasing work is also popular with amateur ensembles.
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One can only regret that Beethoven left only four piano quartets, as these four works rank among the most popular of this genre. Three of them, the Quartets WoO 36, had been penned in Bonn, which makes them one of the master's most successful juvenilia of all. Yet even if they exhale Mozart's spirit, they are already and unmistakably typical Beethoven. Further evidence of his regard for the pieces can be found in his re-use of the third quartet's slow movement in his first Piano Sonata op. 2 no. 1. The fourth quartet represents another version of the Wind Quintet op. 16.
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In the Viennese classical era a divertimento was a light, multi-movement instrumental piece of cheerful, dance-like character. Alongside Mozart, it was above all Hayydn who mastered the art of composing light, entertaining divertimentos of the finest quality. As so often with Haydn, the authenticity of of the divertimentos for piano, two violins and violoncello attributed to him is not always certain. The present edition offers the five verifiably authentic works of the catalog group Hob. XIV in its main section, and in the appendix the Divertimento Hob. XIV:C2, which in all likelihood was composed by Haydn. All six – predominantly in C major – are easy to play and thus well suited for domestic music-making. The piano dominates, while the strings provide sonority. For our Urtext edition, including the detailed preface, we were able to engage Haydn scholar Horst Walter.
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