Recent Publications of Chamber Music Repertoire
Johannes Brahms - Horn Trio E flat major Op. 40 and Clarinet Trio a minor Op. 114
Wolfgang Amadeus Mozart - A Musical Joke K. 522 for 2 Violins, Viola, Basso and 2 Horns in F
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Henle Urtext
Edited by Felix Loy This Henle edition is full of mistakes! Henle can freely admit this, because the odd notes here all come from Mozart himself – he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title “Village Musicians” was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today’s performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin. Study Score and Set of Parts on sale |
Giuseppe Sammartini
12 Trio Sonatas (London 1727) for 2 Treble Recorders (2 Violins) and Continuo Vol. 2: Sonatas VII-XII
Josef Suk - Meditation on the Old Czech Hymn "St Wenceslas" for String Quartet Op. 35a
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Bärenreiter Urtext
Edited by Zdenek Nouza Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the wellbeing of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass. Study Score and Set of Parts on sale Full Score on sale (version for String Orchestra) |
Pierre Boulez: Le Marteau sans maître for alto and 6 instruments
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Universal Edition Contents: • avant "l'Artisanat furieux" • Commentaire I de "Bourreaux de solitude" • "l'Artisanat furieux" • Commentaire II de "Bourreaux de solitude" • "Bel édifice et les pressentiments" version première • "Bourreaux de solitude" • après "l'Artisanat furieux" • Commentaire III de "Bourreaux de solitude" • "Bel édifice et les pressentiments" double Study Score on sale |
Antonín Dvorák: Piano Trio B-flat major Op. 21
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Bärenreiter Urtext Edited by Antonín Cubr Dvorák’s “Trio in B-flat major” Op. 21, the first of his four works for violin, violoncello and piano, was composed in 1875 and premiered two years later. This edition presents the musical text from Volume IV/9 of the “Complete Edition of the Works of Antonín Dvorák”. The violoncello part has been newly engraved and the sections which were written in treble clef have been transferred to tenor clef. In his Foreword, Dvorák authority David R. Beveridge vividly describes the work’s genesis and reception on the basis of the latest research findings. Score and Parts on sale |
Johannes Brahms: Sonatas in f minor and E-flat major for Viola and Piano Op. 120
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Bärenreiter Urtext
Edited by Clive Brown and Neal Peres Da Costa Brahms had already announced his “retirement” from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld’s much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms‘ authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument. An important part of this edition is the extensive preface. Firstly it informs about the sonatas’ origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works. At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general. Performing Score on sale |
Adolf Busch: Divertimento Op. 62b
(for Bb Clarinet, Oboe and Cor Anglais)
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Breitkopf Urtext
Edited by Bettina Beigelbeck Adolf Busch performed around the world both as a solo violinist and with his Busch Quartet, founded in 1912. In 1944 Busch emigrated to the U.S. where he met, at the occasion of a performance of Mozart's Clarinet Quintet, the Russian-born musician Simeon Bellison. Stimulated by his playing, Busch wrote the rousing Divertimento Op. 62b shortly thereafter. The humorous, entertaining character of the work in six movements relies on historical genre models. The fusing of the three distinctive sound colours is achieved in a special manner by Busch. Performing Score on sale |
Johannes Brahms: Sonatas in f minor and E-flat major for Clarinet and Piano Op. 120
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Bärenreiter Urtext
Edited by Clive Brown and Neal Peres Da Costa Brahms had already announced his "retirement“ from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld’s much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms and Mühlfeld premiered the works and played them in several performances until the sonatas op. 120 were first published in June of 1895. They remain pivotal works in the clarinet’s recital repertoire establishing the clarinet sonata as a distinct and viable chamber music genre. An important part of this edition is the extensive preface. Firstly it give information about the sonatas‘ origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, clarinet vibrato and portamento, the editors provide an indispensable assistance for a historically informed interpretation of the work. At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general. Performing Score on sale |
Felix Mendelssohn Bartholdy: Piano Trios
(revised edition)
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Henle Urtext Edition
Edited by Ernst Herrtrich 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. Set of Parts on sale |
Ludwig van Beethoven - Concerto for Pianoforte and Orchestra No. 4 in G major, op. 58
arranged for pianoforte and string quintet
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Bärenreiter Urtext
Edited by Jonathan Del Mar This anonymous sextet arrangement of Beethoven’s Fourth Piano Concerto was highly popular in Vienna during the composer’s lifetime. We know this from at least two sets of handwritten parts which were then in circulation. No piano part has been handed down; indeed, the original sets of parts probably omitted the piano. The soloist presumably studied his part from the first edition of the solo part, published with the original performance material in 1808. (The full score did not appear until 1861). The sextet version deftly integrates the original wind parts into the string texture. The arrangement stands in the tradition of piano reductions with chamber music accompaniment, of the sort which were also made for Mozart’s piano concertos K. 413 to 415 and later for the Chopin concertos. This Urtext edition, edited by the renowned Beethoven scholar Jonathan Del Mar, presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary. Score and Set of Parts on sale |
Luigi Boccherini - Stabat Mater in F minor (G 532) for Soprano, 2 Violins, Viola, Violoncello and Basso
Gerald Finzi Arr. Christian Alexander: Romance, Elegy and Prelude for String Quartet
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Boosey and Hawkes
Arrangements for string quartet of "Romance for string orchestra, op 11" (1928), "Elegy for violin & piano, op 22" (1940), and "Prelude for string orchestra, op 25" (1940s)."Romance" (8 mins) was first performed in 2009 by the Finzi Quartet at London's Wigmore Hall. "Elegy" (9 mins) and "Prelude" (5 mins) were first performed in 2014 by the Marilla Quartet at Downe House School, Berkshire, UK. The arrangements are presented as three separate works and form an attractive addition to the string quartet repertory. Full Score and Parts on sale |
Elliott Carter: String Trio
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Boosey and Hawkes
Composer's Notes: "In planning to compose this string trio I realized that the viola had a more somber sound than the more brilliant violin and cello. While held like the violin, it is somewhat larger which forces the fingers that stop the strings to reach further for high notes. Therefore, I felt that I would make the viola have its own voice and be the most prominent member of the ensemble. The work is dedicated to Rolf Schulte, Richard O’Neill and Fred Sherry." It was composed in May, 2011. — Elliott Carter Full Score and Parts on sale |
Giselher Klebe: Poèma romantico per Violino, Violoncello e Pianoforte op. 145
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Bärenreiter Urtext
This three movement piano trio from Giselher Klebe’s late period of creativity originates from his estate. The composition’s appeal lies in the clear, restrained diction whilst at the same time a high intensity of expression is achieved. Two diverse slow outer movements with eruptive injections frame a lively middle movement. This work which has a duration of 20 minutes undoubtedly represents an impressive document of a musical style which we perceive today as the classical modern. Performing Score on sale |
Antonín Dvořák: String Quartet No. 2 in B Flat Major
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Bärenreiter Urtext
Like Dvorák’s third and fourth quartets (in D major and E minor respectively), String Quartet No. 2 in B-flat major was probably composed between 1868 and 1870, when the young and still inexperienced composer was openly responding to stimuli from his musical surroundings and excitedly adopting new compositional techniques. All three quartets were long considered lost; it was even said that Dvorák destroyed them. But copies of the parts resurfaced in the archive of the Prague Conservatory and have served as the principal source for this new publication. This edition presents the musical text from the “Antonín Dvorák Complete Edition”, together with a new foreword by Hartmut Schick. • Musical text based on the “Antonín Dvorák Complete Edition”, volume IV/5 • New foreword by Hartmut Schick (Ger/Cz/Eng) Set of parts on sale |
Antonín Dvorák: String Quintet op.77 in G Major
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Dvorák's String Quintet in G major op. 77, had five movements when it was premiered on 18 March 1876. Its second movement was the 'Intermezzo' from his String Quartet in E minor (1870). Later Dvorák removed this movement from the quintet, expanded it, and published it as a separate 'Notturno' for string orchestra op. 40. The 'Intermezzo' is included in its original version in the appendix of the score.
This edition is based on the "Complete Edition of the Works of Antonín Dvorák", the principal source being the first edition of 1888, for which Dvorák subjected the work to revision. |
Johann Sebastian Bach: Goldberg Variations BWV 988 for String Trio
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Bach's famous "Goldberg Variations" are chiefly elaborated in three parts. This observation sparked Annette Bartholdy on to transfer the work to the classical chamber scoring. The new "Goldberg Trio" thus now offers an inspiring work for all string players who would like to master this epoch-making work. The string trio version is so close to the wonderful source that no less a luminary than Bernard Haitink enthusiastically proclaimed: "It's completely true to the original, whilst using the colours of the three instruments which the keyboard cannot give."
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Wolfgang Amadeus Mozart: Divertimenti for 2 Oboes, 2 Horns and 2 Bassoons
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Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 1777 when he was living in Salzburg. The Italian title is reminiscent of simple "light" music, but the pieces' melodic ingenuity and colourful writing for winds show it to be chamber music of the highest quality. This edition is based on the autograph and brings together all five authentic sextets in one practical edition. An ensemble with the standard instrumentation (two oboes, two horns and two bassoons) will discover a true musical treasure. The two horn parts are provided both in the original transpositions (F/Bb/Eb) and also for horn in F.
Contents: Divertimento F Major KV213 Divertimento Bb Major KV240 Divertimento Eb Major KV252 Divertimento F Major KV253 Divertimento Bb Major KV270 |
Robert Schumann: String Quartets Op.41
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Although Schumann's first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments, the three String Quartets op. 41 in a minor, F major and A major were written in one go in June/July 1842. At the first private performances the audience was enthusiastic and it was Mendelssohn's praise in particular that occasioned Schumann to dedicate the new works to him.
The composer wrote to his publisher in an appropriately confident manner: "Be assured, I have spared no pains in creating something very decent, indeed I sometimes think it is my best". As is generally known, today Schumann's Opus 41 forms part of the core repertoire for quartet players. |
Alexander Zemlinsky: Trio for Piano, Clarinet (Violin) and Violoncello in d minor Op.3
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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, this 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, this 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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Modest Mussorgsky: Night on Bald Mountain (Arr. for Woodwind Quintet)
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Night on Bald Mountain depicts a witches' sabbath on St. John's Day, the night between 23 and 24 June. Whether intentionally or not, Mussorgsky actually finished the work on the eve of St. John's Day (23 June 1867), after spending twelve days on its composition.
Technically speaking, Joachim Linckelmann's exciting version for wind quintet is the arrangement of an arrangement, as Mussorgsky's symphonic poem is almost invariably heard in the familiar version by Rimsky-Korsakov. Set of Parts includes: Flute, Oboe, Bb Clarinet, Bassoon and Horn |
George Gershwin: Rhapsody in Blue (Arr. for Woodwind Quintet)
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Everyone knows the famous clarinet glissando opening in Gershwin’s “Rhapsody in Blue”, but how many know that the original version was scored for two pianos and that the glissando was initially just an ascending scale?
Joachim Linckelmann’s superb arrangement of this modern classic is based on this original version and, with the exception of two solo piano passages that cannot be realized with a woodwind quintet, the entire work is presented.
Set of Parts includes: Flute, Oboe, Bb Clarinet, Bassoon and Horn |
Antonin Dvorak: String Quartet No.5 in f minor Op.9
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Dvorak's String Quartet No. 5 in F minor of 1873 represents, musically speaking, a fundamental re-orientation of the composer. It has nothing that reminds one of his excessive admiration for the music of Wagner and Liszt. Instead, Dvorak re-establishes contact with the classical string quartet tradition.
The autograph score, once in the possession of Dvorak's heirs, is no longer accessible. This edition is based on the posthumously printed edition of 1929. |
Maurice Ravel: Sonata for Violin and Violoncello in four parts
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In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of "La Revue Musicale" dedicated to Claude Debussy. A supplement included the first movement of Ravel's Sonata as well as works contributed by Debussy's friends Stravinsky, Satie, Dukas, Bartok and de Falla to name only a few. This 1st movement of Ravel's Sonata, of which the autograph is lost, then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition.
Bärenreiter's scholarly-critical edition, the first ever of this masterpiece, presents the work in two performing scores. It contains an introduction on the history of the work reflecting Ravel's work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy, the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. |
Antonin Dvorak: Piano Quintet in A Major Op.81
Antonin Dvorak: String Sextet in A Major Op.48
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The String Sextet in A major was composed during the time when Antonín Dvorák was beginning to become famous. It was written in1878 during his so-called Slavic period, when the composer was specifically enriching his music with folk elements. This edition is based on the autograph copy as well as the first printed edition of 1879 which is a part of the "Complete Edition of the Works of Antonin Dvorak" Vol. IV/9).
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Antonin Dvorak: Piano Trio in f minor Op.65
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The third of Dvorák's piano trios was written in 1883 in Prague; a revised version appeared in the autumn of 1883 published by Simrock in Berlin based on the direct collaboration with the composer. The principal source of this present edition, based on the "Complete Edition of the Works of Antonín Dvorák", is this Simrock publication which presents the final version of the work.
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Josef Suk: Piano Quartet in a minor Op.1
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Josef Suk's piano quartet (1874–1935) quickly became a standard work, not least as a result of the extensive concerts given by the Bohemian Quartet, in which Suk was second violinist. This is however the first scholarly-critical edition of this work. It is based largely on a revision of the first edition which contains Suk's alterations of 1914 and appeared in 1924, on the first copy as well as on newly discovered copies of the parts. Valuable information has also been extracted from the printed parts as the original copies are now no longer extant.
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Antonin Dvorak: Terzetto in C Major Op.74 for Two Violins and Viola
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In 1887 Antonín Dvorák composed two terzettos for two violins and viola in quick succession as occasional compositions for amateurs. A little later, Dvorák arranged the second terzetto as four pieces for violin and piano with the title "Romantic Pieces" op. 75. Both works, that is the first "Terzetto in C major" and the "Romantic Pieces", were published in May 1887 by Simrock in Berlin.
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Johannes Brahms: Trio for Violin, Violoncello and Piano Op.101
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Christopher Hogwood's scholarly-critical edition of Brahms' final and perhaps greatest trio op. 101 is based on two main sources, the first edition and the autograph. The foreword of this edition presents information on contemporary performance practice; Hogwood has drawn on the comments of Fanny Davis, a Brahms student, to shed light on this. She describes how Brahms played the trio with Joseph Joachim and Robert Hausmann at an informal reading (with Clara Schumann turning pages) in Baden-Baden circa 1895. Davis' descriptions have much to do with articulation, dynamics and tempo fluctuations; in short, exactly those aspects of performance practice where we lack real direction.
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Johannes Brahms: Trio for Violin, Horn (Viola or Violoncello) and Piano Op.40
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Brahms's famous Horn Trio op.40, composed in 1865 for the natural horn, is a work of considerable significance within the composer's output. Up until now the work was believed to have a strong emotional connection to the death of his mother three months earlier. However, Christopher Hogwood draws on a newly discovered source for this Bärenreiter publication, a source that has not been available for any previous edition. We now learn that Brahms wrote at least the trio movement some twelve years earlier – in 1853 – and that it was originally intended for solo piano. This piano movement is printed in the appendix. This Urtext edition offers not only the standard instrumentation of violin, horn and piano but also the alternative scoring for violoncello or viola instead of horn. The variants found in the violoncello and viola parts are shown as ossias in the score.
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Antonin Dvorak: String Quintet in Eb Major Op.97
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The String Quintet in E-flat major op. 97 (with two violas) is the third work Dvorak composed during his stay in America. "This quintet may be said in three of its movements to show the influence of American life and American music upon the composer" wrote the American music critic Henry Krehbiel on 7 January 1894. The use of particular melodic and rhythmic elements in his American compositions, as typically found in Afro-American gospels, strengthened the gathering conception considering Dvorak to be the founder of an American national style of music.
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