The Famous Haydn Edition by Christa Landon brought up to Date Joseph Haydn
The Complete Piano Sonatas Editor: Christa Landon / Ulrich Leisinger Notes on Interpretation: Robert D. Levin Fingerings: Oswald Jonas Volume 3 UT 50258 (previously vol. 2 UT 50028) Grade: 3–4
Volume 1 UT 50256 (previously vol. 1a UT 50026) Volume 2 UT 50257 (previously vol. 1b UT 50027) Volume 4 UT 50259 (previously vol. 3 UT 50029)
Now all volumes available
When Christa Landon presented the first printed version of her edition of Joseph Haydn’s piano sonatas, Haydn’s sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then, Haydn’s sonatas have progressed from the teaching rooms to the concert halls and Landon’s edition has played a crucial role in that process. Since the Haydn anniversary in 2009 this ‘legendary’ edition has been thoroughly revised for, over the course of more than forty years, new sources have come to light and questions of authenticity have been resolved, not least because the editorial principles for 18th-century music have changed considerably. The new edition is published in four volumes, the content of each volume being compatible with the volumes of the previous edition. Volume 3 of the new edition comprises the 17 sonatas Hob. XVI:21–32 and Hob. XVI:35–39 contained in Vol. 2 of the previous Wiener Urtext edition, including popular works for music lessons such as Hob. XVI:27, 35 and 37. In the Notes on Interpretation, Robert D. Levin explains important aspects of Haydn’s performance practice and, with the help of numerous examples, shows possibilities to embellish the pauses frequently used by Haydn.
Wiener Urtext Edition www.wiener-urtext.com
200th anniversary of Franz Liszt Franz Liszt Consolations
for Piano Editor: Sabine Ziegler Preface: Christian Ubber Fingerings: Pavel Gililov Notes on Interpretation: Christian Ubber / Lina Ramann Grade: 3–4 UT 50165
The Consolations are among the best-known piano works by Franz Liszt. Their popularity is due not only to their expressive and lyrical character but also to their relatively moderate pianistic demands. Having a long history, the final version of the six pieces appeared in print for the first time in 1850. The Wiener Urtext Edition provides this version authorized by Liszt for publication, the text of which is mainly based on the German first edition owing to the lack of extant autographs and engraver’s copies. In addition, the French first edition as well as separate editions of the Consolations Nos. 3 and 5 published in London or Paris were consulted as well. The edition is complemented by performance notes of the Liszt pupil Lina Ramann which are virtually first-hand records of Liszt’s interpretational ideas. Furthermore, a clear engraving without page-turn problems makes it easier to study and perform the popular works.
Wiener Urtext Edition www.wiener-urtext.com UTNovaflyer-engl.indd 2
Dreams of Love
for Piano Editor: Jochen Reutter Preface / Notes on Interpretation: Christian Ubber Fingerings: Pavel Gililov Grade: 4–5 UT 50164 Originally designed for voice and piano, Franz Liszt’s Liebesträume (Dreams of Love) were published in 1850 as lieder and solo piano works at the same time. It is the latter ones that have become famous, particularly Dream of Love No. 3 which was to become one of the most popular pieces of the Romantic piano literature. Existing autograph sketches are of only little significance to the final form of the works; the complete autograph is privately owned and not accessible. This is why the new edition of Wiener Urtext Edition basically follows the first edition of 1850 with its highly reliable text but not the second edition of the original publisher which is sometimes mistaken for the first one. The present edition is completed by a clear engraving and convenient page turns as well as informative commentaries of the Liszt expert Christian Ubber.
The fact that piano works by Franz Liszt not always require the highest technical standards or are reputed to be reserved for just a few professionals is proven by the present anthology of the Wiener Urtext Edition. It comprises works by Liszt which, starting from an easy to intermediate technical level, encourage to play, rather by expressiveness than by virtuoso demands, and still allow to make progress in the playing technique which eventually is of benefit not only to playing Liszt. The selection, ranging from easy pieces such as La cloche sonne or the Consolations Nos. 1 and 2 to more advanced works such as Au lac de Wallenstadt from Années de Pèlerinage, also takes the aspect of popularity within the framework of Liszt’s piano literature into account.
Pathways to Franz Liszt A selection of easy to intermediate level piano pieces by Liszt for Piano Editors: Christian Ubber, Sabine Ziegler and Jochen Reutter Fingerings: Pavel Gililov and Christian Ubber Grade: 2–4 UT 50282
Wiener Urtext Edition www.wiener-urtext.com
Johannes Brahms Handel Variations Op. 24 for Piano Editor: Johannes Behr Fingerings / Notes on Interpretation: Peter Roggenkamp Grade: 5 UT 50171 Johannes Brahms showed an interest in the music of previous epochs at an early age. In this context, he also came across the variation theme of George Frideric Handel which, in turn, inspired him to write an extensive work of variations for the piano. The new edition of the Wiener Urtext Edition is based on a meticulous comparison of autographs, first edition and personal copies. Brahms’s Autograph copy served as an essential corrective; subsequent corrections of the composer in the personal copy of Max Kalbeck were taken into account as well. Changes in tempo and indications of expression of Brahms’s first manuscript version until the first edition allow conclusions about the composer’s interpretational ideas; they are analysed in the notes of interpretation. The clear and readily legible engraving makes this edition a convenient basis for studying this masterpiece.
Maurice Ravel Gaspard de la nuit 3 poèmes pour piano d’après Aloysius Bertrand for piano Editor: Michael Kube, Preface: Theo Hirsbrunner Fingerings / Notes on Interpretation: Peter Roggenkamp Grade: 5 UT 50261 Maurice Ravel’s Gaspard de la nuit ranks among the most important piano works of the 20th century and, as it were, represents the pinnacle of the extension of the piano playing techniques and tonal possibilities which started in the 19th century. Ravel took poems by Aloysius Bertrand as a basis of the three movements Ondine, Le Gibet and Scarbo. Thus, he follows the 19th-century tradition to combine instrumental music with literary works. The new edition of Wiener Urtext not only consults the first edition, which has been used almost exclusively up to now, but also Ravel’s autograph and his personal copy of the first edition on the basis of which numerous passages in the musical text can be corrected. Additional information from personal copies of Ravel pupils are analysed in the Notes on Interpretation. The edition in the reader-friendly large Wiener Urtext format is completed by a glossary in three languages of the French performance instructions used by Ravel as well as English and German translations of the three poems by Bertrand.
Wiener Urtext Edition www.wiener-urtext.com UTNovaflyer-engl.indd 4
KAT UT 60086-99 PL 02/11