Early - Baroque - Classical - Contemporary music	NEW EDITIONS

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Fitzwilliam Handeliana, Volume 1 Lord Fitzwilliam, Jean-Philippe Rameau, George Frideric Handel Edition HH is launching an innovative series of publications of Handelian music inspired by manuscript holdings in The Fitzwilliam Museum, Cambridge. The first volume, which is now available, is devoted to a collection of works for harpsichord and organ by the Founder himself, Richard, 7th Viscount Fitzwilliam of Merrion (1745–1816). Lord Fitzwilliam championed the performance of Handel’s music in late 18th-century England, yet his own compositions – themselves often indebted to and inspired by Handel – have never before appeared in print. Surveying a broad cross-section of Fitzwilliam’s works, this edition, prepared by Gerald Gifford, Honorary Keeper of Music at the Museum, will have considerable appeal to all players specializing in the keyboard repertoire of the period. ed. Gerald Gifford

Flute quartet No. 5 in A major / No. 6 in B flat major Alessandro Rolla Alessandro Rolla was a viola and violin virtuoso and a composer, predominantly of chamber music. The present quartets reveal not only his first-hand understanding of string technique and his proficiency in writing effectively for strings, but also a clear familiarity with the flute of his day. The works feature a number of attractive solos for all four instruments without recourse to gratuitous displays of virtuosity for its own sake. ed. Michael Elphinstone

Balli per Cembalo / The Selosse Manuscript Various composers "The excellent Edition HH continues to expand its list of unusual areas of interest for keyboard players. ... Both volumes have a clear layout and provide the scholarly introduction and textual notes that we have come to expect from the first-rate luminary editors who are employed by this highly regarded publisher." To read the whole review click here ed. Hogwood (Balli)/ Leech (Selosse)

Amarissime pene Tomaso Albinoni “Amarissime pene is a beautiful cantata in which Albinoni's feeling for a vocal line reflects his early experience as a singer. ... Edition HH is to be commended for publishing Italian chamber cantatas, and Michael Talbot for editing them.” To read the whole review click here ed. Michael Talbot

Grande Sonate Charactéristique in F Minor op.12 for keyboard Sonata Grande in G minor op.39 for keyboard Anton Eberl “These are two sonatas by an interesting pupil of Mozart. ... Hogwood would appear to be dedicated in putting his works before today's public, so that we should be under no delusion as to Eberl's merit in his own right. These two fine works complement those others by Eberl which have already been issued by Edition HH.” To read the whole review click here ed. Christopher Hogwood

The four-part dances Simon Ives “The collection is unique in presenting the Ives pieces as a discrete group in full consort settings in four parts ... providing as it does that perfect solution, the best of scholarly and practical editions. ... an ideal conclusion to an evening of consort playing.” To read the whole review click here eds. Peter Holman and John Cunningham

Graaf: Duo economique for one violin Boccherini: Violoncello quintet in C major Christian Ernst Graaf / Luigi Boccherini “First, a curiosity appropriate for these straightened times: a Duo economique ... It's a nice idea, and I suspect it to be popular at summer-school end-of-week concerts/parties. Or try it with the whole violin section of an orchestra as a way of breaking the ice!" "Keith Pascoe has edited Boccherini's Quintet in C (1779) G310, op. 28/4 ... It's excellent that this edition has appeared: let's hope for more.” To read the whole review click here ed. Christopher Hogwood / Keith Pascoe

Six variations on Voi che sapete for harp 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 ed. Christopher Hogwood

Symphony No. 41, the 'Jupiter' for string quintet 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 ed. Christopher Hogwood

Divertimento I Divertimento II Divertimento III Joseph Haydn/Paul Wranitzky In these "amplifications" of three of Haydn's best-known string quartets, Op. 71, Wranitzky expanded the ensemble to nine players by adding flute, oboe, two horns and double bass, making it one of the larger divertimento scorings for the period. First published in 1800, but overlooked by performers ever since, they are now issued here as a 3-volume set in full score with set of parts. The first of the group received its modern premiere on 1 March 2008 in New York’s Carnegie Hall. ed. Christopher Hogwood Concerto No. 11 for flute 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 ed. Jennifer Caesar Due sentenze di Leonardo Luna Alcalay Austrian composer Luna Alcalay drew her inspiration for this piece from two of Leonardo da Vinci’s philosophical reflections, which she has set for the unusual combination of mezzo-soprano, oboe d’amore and piano. The subtle interplay of the two "voices", and the short, colourful pianistic gestures that punctuate this sustained conversation, reveal a musical mind of singular depth and imagination. Mezzo soprano, Oboe d'amore, piano Senti bel sol, deh senti Tomaso Albinoni In this cantata, the protagonist is the male lover about to depart, who expresses pain at leaving his beloved, promises to remain true to her and finally begs her to dry her tears since he is confident that, somehow, they will be reunited. Unusually for Albinoni, there are three arias, the third of which is dance-like in the composer's best faux-naïf vein. The first aria is noteworthy for its vigorous bass line, whose jagged quality contrasts strongly with the smoothness of the vocal line. ed. Michael Talbot Clori nel ciel d'amor lucida stella Tomaso Albinoni This cantata takes the form of a lover's plea to Clori, who is proving 'hard to get'. He begs her finally to yield to his love. Even if she does not reciprocate it, she should at least soothe his pain temporarily by glancing in his direction. As so often in Baroque cantatas, the exaggerated emotion seems to be ironised to some extent: Albinoni and his poet simultaneously express and critically observe the lover's feelings. The two arias are nicely contrasted, the first containing a large amount of written-in vocal ornamentation and the second, in contrast, conveying a bluff breeziness. ed. Michael Talbot Rivolse Clori un giorno Tomaso Albinoni This cantata is on the common subject of a lover's jealousy. Clori falls in love with Fileno at first sight, but he proves unfaithful to her and a lovers' quarrel ensues. The music, by turns wistful and assertive, follows Clori's see-sawing emotions, ending with a show of defiance. Albinoni's finely chiselled, undulating vocal line demonstrates his great gifts as a melodist. ed. Michael Talbot Duo Economique Christian Ernst Graaf As a musical gesture of sympathy towards the current financial problems, we present the first modern edition of the Duo Economique by Christian Ernst Graaf, calling for two players, four hands and two bows but only one violin. A certain intimacy is necessary for the two performers (explained and illustrated in the Introduction) but the two movements are consolingly melodious and offer a pleasant antidote to our straitened times. An appropriate present for any musical banker or stockbroker… ed. Christopher Hogwood Armida Joseph Haydn Armida is Haydn’s most highly regarded opera – even the composer himself, on completing the score in 1783, referred to it as his best work. Topically interesting – love versus duty in the time of war – Armida is suitable for large and small opera companies alike and offers tremendous scope for imaginative staging. Based on the autograph score in the Royal College of Music, London, and on manuscript fragments in Eisenstadt, this edition has been prepared by the distinguished Haydn conductor Anton Gabmayer, since 1992 Musical Director of the Haydn Festival at Eisenstadt, with which Edition HH has forged close links. (Full score (HH402.fsc), vocal score (HH402.voc), instrumental parts (Hire)) ed. Anton Gabmayer Grand quintetto from Clarinet concerto K622 arranged for piano quintet 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 ed. Christopher Hogwood Differentes petites pièces Joseph Haydn The title Differentes petites pièces signifies that the collection was drawn from assorted musical genres (symphonies, operas, string quartets etc.), distinguishing it from the majority of anthologies of this period, which gathered together works of a single genre (all quartets, all songs, all sonatas etc.). In performance terms, the pieces are effective on any expressive keyboard instrument and were designed to present few technical challenges to the amateur or student player. ed. Christopher Hogwood Clarinet sonata François Devienne François Devienne's music has long been esteemed for its grace and balance, and his instrumental sonatas are among the finest of their kind in the classical period. This sonata for clarinet, a supreme example, is faithfully reproduced with editorial notes and commentary. The original articulation has been retained so that the developing player of both the classical and modern clarinet can deepen their understanding of the articulated style of the period. Highly recommended for AB Grades 7 or 8 upwards. ed. Nicholas Cox