 |
Early - Baroque - Classical - Contemporary music |
RECENT EDITIONS |
 |
|
|
Click the blue links for more information
Click the cover picture to order
 Luys de Narváez |
|
| Narváez’s Seys libros del Delphín, published in Valladolid in 1538, contains the earliest purely instrumental sets of variations – diferencias – in the history of music. In this critical edition, all of Narváez’s solo works are transcribed into staff notation for the guitar, the majority of the pieces appearing here for the first time. The easy-to-read score, which is entirely faithful to the original tablature, will open up this magnificent early repertoire to a new generation of performers and teachers.
|
|
|
transcr. & ed. Stefan Nesyba
|
|
|
|
| Giovanni Battista Vitali |
|
| Giovanni Vitali’s set of twelve sonatas Op. 5 for various combinations of strings and continuo, published in 1669, was the Bolognese composer's most ambitious collection of chamber music to date. He most likely wrote it as an application piece for membership of the prestigious Accademia Filarmonica, for each sonata has a dedicatory subtitle bearing the name of one of the city’s noblemen. This second volume of Martin Perkins’s scholarly performing edition contains four works – the sonatas for two violins, violone and organ continuo.
|
|
|
|
| Stephen Pratt |
|
| On Reflection is a companion piece to the earlier sextet The Miraculous Mandolin (2007), for a similar combination of instruments. But it is somewhat more introspective, as implied by the title, which also refers to the technical processes employed. The first section sets up a contrast between busy linear material and ‘frozen’ chordal passages, both emanating from a single source. The first part of the final section largely develops the quick character, but the piece ends with a chorale-like reworking of the chords. At the centre is a slow section, which perhaps reflects the title most aptly.
|
|
|
|
| Carl Friedrich Christian Fasch |
|
| Carl Fasch, regarded by a contemporary writer on music as the true successor to C. P. E. Bach (with whom he shared keyboard duties for Frederick the Great), was notoriously reluctant to have his music made public, even asking that much of it should be destroyed. In this first volume of his complete keyboard works, the six sonatas, which appeared in print and were well regarded during the composer's lifetime, show him to be a minor master and an eloquent advocate for the eclectic expressive style then current in Berlin. Two further volumes will present his sets of variations, his unpublished sonatas and an intriguing sequence of “character pieces”, all suitable for performance on the clavichord or the fortepiano.
|
|
|
|
| Thomas Attwood Walmisley |
|
|
These two short sonatinas for oboe and piano by 19th-century English composer Thomas Walmisley, now remembered almost exclusively for his church music, offer an early Romantic view of classical form and exploit both instruments ingeniously and with originality. Since the pieces were also published as flute works after the composer’s death, and appear in manuscript for the clarinet, this appealing – and rare – repertoire will be available not only to oboe players, but will successfully meet the programming needs of other wind recitalists.
|
|
|
|
| Timothy Raymond |
|
| Composed for St Bavo’s Cathedral in Ghent, Belgium, this dramatic organ piece was inspired by a plainchant melody in a manuscript compiled there in 1481, and by the colourful pantheism and cosmic symbolism of the cathedral’s famous fifteenth-century altarpiece, the Van Eyck brothers' Adoration of the Sacred Lamb. Atmospheric, mysterious and fluid textures alternate with energetic, toccata-like passages, reflecting and transforming the pitch structures and temporal proportions of the chant – a meditation on the Trinity. The latest recital performance of Caritas Pater est is scheduled to take place in Christ Church Cathedral, Cincinnati, USA, in November.
|
|
|
Contemporary organ music c.14'
|
|
|
|
| Ming Wang |
|
| “Silent Thunder” is an intriguing zoological phenomenon: elephants are able to communicate with each other ultrasonically, using frequencies that are wholly inaudible to us. Members of the same troop can perceive and react to these deep oscillations even at a distance of 20 km. This mysterious faculty possessed by animals awakened in the composer's mind a musical association linked to the wide sound spectrum of the piano. The resulting 10-minute soundscape demonstrates once again Ming Wang's fine creative imagination and supreme aural and technical skills.
|
|
|
Virtuoso contemporary piano music c.10'
|
|
|
|
| Anton Eberl |
|
BRIDGE THE GAP!!
A true Grand Duo for cello and piano to provide a much-needed connection between the first sonatas for this combination – by Beethoven – and the later 19th-century repertoire. Eberl’s heroic style provides a masterly alternative to the over-familiar works, with the balance of power between the two players scrupulously maintained throughout, and ingenious formal innovations. The Rhapsodie finale in particular, with sections in varying metres and moods, resolves in an elegant Pastorale, an entirely new format for this combination. The composer thoughtfully provided an adaptation of the cello line for the violin. Both parts are included in this publication, and players will be interested in the many differences between them.
|
|
|
|
| Nirmali Fenn |
|
| How do we think in terms of wholes? Unifying Divisions is a social experiment where 17 saxophones divide into groups of 5 solo characters and 4 quartets, uniting to give the illusion of 1 instrument. The unification is achieved through the magnification of a single voice.
|
|
|
|
| Giovanni Stefano Carbonelli |
|
| All twelve of these highly original, mostly four-movement, sonatas contain a judicious mixture of dance-inspired and ‘abstract’ music. The violinistic technique, though advanced, is always placed at the service of musical expression, and the composer’s handling of counterpoint, his thematic invention and his command of musical form are consistently outstanding. According to editor Michael Talbot: “These sonatas represent the best music in terms of sheer quality that I have ever edited – and I don't exclude Vivaldi and Albinoni from the comparison.”
|
|
|
|
| Giovanni Stefano Carbonelli |
|
| All twelve of these highly original, mostly four-movement, sonatas contain a judicious mixture of dance-inspired and ‘abstract’ music. The violinistic technique, though advanced, is always placed at the service of musical expression, and the composer’s handling of counterpoint, his thematic invention and his command of musical form are consistently outstanding. According to editor Michael Talbot: “These sonatas represent the best music in terms of sheer quality that I have ever edited – and I don't exclude Vivaldi and Albinoni from the comparison.”
|
|
|
|
| Hardenack Otto Conrad Zinck |
|
| The final instalment of the three-volume collection of Zinck’s complete keyboard music contains his sets of variations (one on the tune made popular by Mozart, “Lison dormait”, and the other a surprisingly virtuoso set on a simple children‘s song) and a sequence of his very individual miscellaneous pieces, including the atmospheric setting for keyboard solo of “Das Traumschiff” (complete with nautical illustration). Many of his teaching pieces are published here for the first time from a manuscript source in the Royal Library, Copenhagen, and include original fingering from the composer. All the works in this volume would be effective on either the clavichord or fortepiano.
|
|
|
|
| Hardenack Otto Conrad Zinck |
|
| The second instalment of the three-volume collection of Zinck’s complete keyboard music contains the printed sonatas which followed his enormously successful 1783 set, together with the first appearance in print of two sonatas from a manuscript source in the Royal Library, Copenhagen. The published sonatas show Zinck’s mastery of the styles of both C.P.E. Bach (his teacher) and Haydn, while the manuscript works are simpler in their technical demands, but include original fingering from the composer. All the sonatas in this volume would be effective on either the clavichord or the fortepiano.
|
|
|
|
| Giovanni Battista Vitali |
|
| Giovanni Vitali’s set of twelve sonatas Op. 5 for various combinations of strings and continuo, published in 1669, was the Bolognese composer's most ambitious collection of chamber music to date. He most likely wrote it as an application piece for membership of the prestigious Accademia Filarmonica, for each sonata has a dedicatory subtitle bearing the name of one of the city’s noblemen. This first volume of Martin Perkins’s scholarly performing edition contains five works – the sonatas for two violins and organ continuo.
|
|
|
|
| Wolfgang Amadeus Mozart |
|
| After first performing his quintet for piano and winds in 1784, Mozart described it to his father as “the best work I have ever composed”. But, mysteriously, it was not published for several years and then in the form of a quartet for piano and strings — and with a bogus ending. The present edition presents this excellent transcription in Urtext form, and at the same time explains the strange circumstances that surrounded the disappearance and rediscovery of the manuscript. For the curious, both the “bogus” ending and a more Mozartian version are given.
|
|
|
|
| Johann Sebastian Bach |
|
| A new Bach concerto for the same instrumental combination as the ever-popular Pachelbel Canon! This arrangement of a work originally for three harpsichords was made for the Academy of Ancient Music. Dispensing with the orchestral tuttis and including a new (optional) viola part, the new version will be suitable for smaller chamber ensembles with a continuo section of cello, double-bass and keyboard. The textures are very similar to those of Vivaldi's Op. 3 concertos (L'Estro Armonico) and the three violin parts require a similar brilliance of technique.
|
|
|
arranged by Christopher Hogwood
|
|
|
|
| Leopold Mozart |
|
| This sonata in B flat, by Wolfgang Amadeus's father, a prominent musician in his own right, is part of a group of three sonatas that the publisher J. H. Haffner included in a 1756 collection of contemporary sonatas. Though originally written for harpsichord, the piece is equally suited to performance on the fortepiano.
|
|
|
|
| Luna Alcalay |
|
| This short quartet, lasting a mere eight minutes in performance, consists of three sections that can be played aleatorically. Ideally, the piece should be performed more than once in a concert, as the 'points of fracture' (Splitterungen) appear to have quite divergent causes, leaving the listener with very different impressions when the order is changed. |
|
|
Flute, clarinet, viola, violoncello
|
|
|
|
| Giovanni Stefano Carbonelli |
|
| All twelve of these highly original, mostly four-movement, sonatas contain a judicious mixture of dance-inspired and ‘abstract’ music. The violinistic technique, though advanced, is always placed at the service of musical expression, and the composer’s handling of counterpoint, his thematic invention and his command of musical form are consistently outstanding. According to editor Michael Talbot: “These sonatas represent the best music in terms of sheer quality that I have ever edited – and I don't exclude Vivaldi and Albinoni from the comparison.”
|
|
|
|
| Nirmali Fenn |
|
The 5 Steps is a music theatre piece steeped in ritual, where music and dance converge to express a correlation between the generative and degenerative processes within nature and human life cycles. The choreography is determined by the 5 Chinese characters that represent the 5 elements of Taoism - Wood (木), Fire (火), Earth (土), Metal (金), and Water (水).No element exists by itself, but is determined by how each one operates as a part within a holistic system.
|
|
|
Flute, violin, alto saxophone & 5 dancers
|
|
|
|
| Jeremy Arden |
|
| These four pieces for piano and cello, combining the personal and the poetic, were finally realized in 2009 after a long period of gestation. The central movements were inspired by Jeremy Arden’s memories of his encounter with Russian composers (husband and wife) Dmitri Smirnov and Elena Firsova in 1989. Their personalities and their music, contrasted yet belonging together, are echoed in the mood of contemplative joy and impassioned struggle expressed in the outer movements.
|
|
|
|
| Antonio Vivaldi |
|
| This is the first modern edition, and reconstruction, of a concerto for transverse flute by Vivaldi with the exotic title ‘Il Gran Mogol’, recently discovered in the Scottish National Archives. Closely related to this work is the composer's concerto RV 431, of which only the first and last movements survive. Using a transposed version of the slow movement of ‘Il Gran Mogol’, the editor Andrew Woolley has been able to complete RV 431, and the two works are conveniently presented together in this exciting new publication. Performers should seize the opportunity to play these concertos, originally created for the ‘amateur’ market.
|
|
|
|
| Ming Wang |
|
| The ‘dreamcatcher’, a fascinating Native American mystical object, was the inspiration behind this Piano Trio, which is a perfect example of the composer's finely judged, evocative musical language. The piece comprises four sections, which, like the various images in dreams, change quickly and unexpectedly, without apparent relation, even though in reality they follow a “red thread” on an invisible plane.
|
|
|
|
| Wolfgang Amadeus Mozart |
|
| No arranger was named on the 1793 first edition of this piano version of the slow movement from Mozart’s last chamber work for strings, but Alfred Einstein was so impressed by the adaptation that in his Mozart biography he ventured, “it is so masterly that one might even imagine the hand of Mozart to be present”. The many dynamic, tempo and articulation markings added by the arranger not only make this fine music particularly suitable for fortepiano or clavichord, but will also be of interest to modern string players performing the original version.
|
|
|
|
| Alessandro Rolla |
|
| The two-movement quartet for oboe and string trio by Alessandro Rolla was presumed lost, but the autograph score of the work has in fact been held at the Royal Library in Copenhagen since 1929. Thoroughly Classical in terms of its musical language and structure (in spite of some unexpected virtuoso episodes for the violin), the work is a welcome addition to the sparse repertoire of compositions for oboe and strings emanating from early nineteenth-century Italy.
|
|
|
|
| Tomaso Albinoni |
|
| These cantatas show the full range of Albinoni's style, which ranges from the slyly humorous to the deeply impassioned, from music of folk-like simplicity to intricate coloratura and rich chromatic harmony. Those who know only Albinoni's instrumental music may be surprised at the adventurousness of his vocal writing. The edition, which addresses the needs of both performers and scholars, includes a preface, a transcription of the poetic texts with English and German translations, and a critical report. |
|
|
|
| George Frideric Handel |
|
| The second volume of the Fitzwilliam Handeliana series is largely made up of hitherto unfamiliar - and in some cases previously unidentified - 18th-century keyboard arrangements of Handel's music contained in the manuscript collection at the Fitzwilliam Museum, Cambridge. |
|
|
|
| Luna Alcalay |
|
| Viennese composer Luna Alcalay continues to enrich the solo instrumental repertory, on this occasion with a short piece for flute in which she exploits, with her customary mastery, the instrument's rich expressive potential. Skilfully judged variations of dynamics, phrasing, attack and tone colour, often in close succession – en passant ("in passing"), as the title suggests – all combine to create an eight-minute journey full of shifting light and atmosphere.
|
|
|
|
| Ignaz Pleyel |
|
| The Symphony in F minor by Ignaz Pleyel, a pupil of Joseph Haydn and one of the most performed composers of his day, was published in Paris in 1787. Though clearly indebted to Haydn’s “Sturm und Drang” music of the late 1760s and early 1770s, it is nevertheless a work of character, contrasts and individuality, especially the enchanting Minuet, and the Andante grazioso with its muted strings and gently rocking accompaniment.
|
|
|
|
| Joseph Haydn |
|
| Haydn appears to have had a particular regard for Celia’s aria “Ah, come il core mi palpita” from his opera La fedeltà premiata, submitting it, with only minor changes, to the Viennese publishing house Artaria, who issued a score and full set of parts in 1782. The title “Cantata”, which Artaria used for the first edition, was the one Haydn chose in his letter recommending separate publication, and it underlines the fact that this is not “merely an aria” from a larger work, but an independent work of art. Indeed, Ah, come il core mi palpita is a remarkable self-contained composition and merits inclusion in any serious concert.
|
|
|
|
| Johann Baptist Cramer |
|
| This set of three contrasted sonatas by the German pianist, composer and teacher Johann Baptist Cramer, or "Glorious John", as he was affectionately known in England, was dedicated to Haydn and first published in Vienna in 1799. All three works are models of classical clarity, and Cramer exploits the full range and sonority of the fortepiano, with exact indications of pedalling and dynamics. This new edition also includes useful extracts from his Instructions for the Piano Forte, which explain his ornamentation and markings and even distinguish between the grand piano and the smaller, square piano. |
|
|
|
| Ming Wang |
|
| The major inspiration behind this composition is the extraordinary variety of sounds produced by the flute, which numerous contemporary composers and players have exploited, to magical effect, in recent decades. The wide range of harmonics and multiphonics, the varied elements of breath and noise, the special ways of playing the instrument and the inexhaustible possibilities of tone colour are all brought into play in Ming Wang’s strikingly original new work. |
|
|
|
| Claude Debussy |
|
| Debussy's Sonata for Violoncello and Piano, one of the most profound and frequently performed works of the cello repertoire, is now available for the first time in a highly accomplished transcription for flute and piano. Displaying the composer's characteristic skill in the use of modes, whole-tone and pentatonic scales and brilliant coloration, the Sonata, in this new version prepared by a master executant, loses none of its original impact or integrity and will undoubtedly be attractive to all concert flautists. A significant addition to the chamber music repertoire. |
|
|
|
| Stephen Pratt |
|
| Written for the Wirral Schools' Concert Band in 1987, Strong Winds, Gentle Airs is built, as the title suggests, from two types of material – one forceful and rhythmic, the other more relaxed, with slow-moving, almost static harmonies. In revising the piece for publication, the composer has endeavoured to retain as much of the original character as possible. A performance will take place on 26 November at The Royal Northern College of Music in Manchester. |
|
|
|
| Duo Economique |
|
| “Duo Economique” calls for two violinists, each with their own bow but reduced to playing on a single fiddle! This unique piece, composed by a colleague of Mozart – Christian Ernst Graaf – has two consolingly melodious movements and requires a certain intimacy between the performers (the score’s Introduction explains all). To watch an amusing performance on YouTube click here
|
|
|
|
| Wolfgang Amadeus Mozart |
|
| Christian Schwencke’s arrangement of Mozart's Partita, K.361 for a chamber group including piano is one of the most popular works in our @MOZART series. In response to concerns about the frequent page-turns when the pianist plays from the score, we have now issued this piano part. |
|
|
|
| Maurice Webster |
|
| The five three-part (SSB) and nine four-part (SSTB) dances in this edition represent the complete surviving consort music of Maurice Webster. Webster, a skilled composer with a distinctive style, appears to have been the main catalyst for introducing the 'string quartet' scoring in dance music to England in the 1620s. The development of this idiom had a significant impact on the music of his contemporaries such as Simon Ives, Charles Coleman and William Lawes, who fully embraced it by the 1630s. |
|
|
eds. Peter Holman/John Cunningham
|
|
|
|
| André Messager |
|
| A new discovery for cellists - an attractive and lyrical Barcarolle for solo cello with string orchestra and harp by the famous operetta and ballet composer André Messager. The autograph score recently came to light in the USA and is the composer's own adaptation of a Barcarolle for violin and piano he published in 1897. This is a welcome rediscovery for violinists too, for the original version is also included as part of the new edition. Both cellists and violinists will therefore have a choice of either piano or orchestral accompaniment. Messager's Barcarolle represents a substantial addition to the instrumental legacy of a sadly neglected French master. |
|
|
|
| Ignaz Pleyel |
|
| Ignaz Pleyel was one of the most popular and prolific composers in western Europe at the turn of the nineteenth century. This Symphony in C major was written when he was 21 years old, after he had completed five years of study with Joseph Haydn. |
|
|
|
| Luna Alcalay |
|
| Percussion players will welcome these three delicate tone-pictures for marimba, which will add colour and atmosphere to any recital. |
|
|
|
| Charles Dieupart |
|
| A notable new edition comprising three hitherto unkown harpsichord suites by the French composer Charles Dieupart (c.1667-c.1740). Most of Dieupart's keyboard output is contained in his Six Suittes de Clavessin published in 1701, but alternative versions of a number of pieces in this collection, as well as diverse movements not found elsewhere, exist in two important manuscript sources - one Austrian, the other British. Although Dieupart's harpsichord music is largely French in style, it is clear that the composer was also influenced by German music of the time. |
|
|
|
| Charles Bochsa |
|
"By producing this edition, harp repertoire has recovered a glorious piece. Well worthy of a place in a concert programme, or as study material for those interested in rediscovering the developing technique that Bochsa was so instrumental in creating, the music is a delight, and this well thought out edition makes it both accessible and legible."
To read the whole review
click here |
|
|
|
| François Devienne |
|
“This flute concerto, the latest in Edition HH's enterprising and rewarding classical series, with its dazzling and uncompromising virtuosity, is a typical example of Devienne's free and ebullient writing. ... This is terrific practice material for any flautist, and would make an impressive competition piece. Jennifer Caesar's edition is beautifully clear, with a minimum of editorial interference.”
To read the whole review
click here |
|
|
|
| Wolfgang Amadeus Mozart |
|
“… challenging, but very rewarding to play… this is another exemplary edition from Edition HH, this time of a fascinating re-working of a masterpiece which merits attention in a whole range of contexts.”
To read the whole review
click here |
|
|
|
| Wolfgang Amadeus Mozart |
|
“Idiomatic and laudable, with keen attention paid to changes in texture and register ... this version of the concerto has genuine scholarly value and offers insights into the dissemination of Mozart's works. ... It certainly has appeal as a chamber music novelty, or as a very useful alternative means of getting to know the original from the inside.”
To read the whole review
click here |
|
|
|
NEW in June 2004
· August 2004
· October 2004
· December 2004
· March 2005
· June 2005
· September 2005
· December 2005
· December 2005
· March 2006
· August 2006
· December 2006
· May 2007
· October 2007
· February 2008
· May 2008
· September 2008
· March 2009
· August 2009
| |
