Wiener Urtext Editionwww.wiener-urtext.com

New for Carl Reinecke’s Anniversary Year 2010

Carl ReineckeComplete Sonatas

for Violoncello and PianoEditor: Christiane Wiesenfeldt

Fingerings and Notes on Inter- pretation: Manuel Fischer-Dieskau

(Violoncello),Peter Roggenkamp (Piano)

Grade: 4UT 50272

Having been the conductor of the Leipzig Gewandhaus Orchestra for many years, Carl Reinecke was one of the most important figures among musicians in the second half of the 19th century. His three Sonatas for violoncello and piano are of amazing musical quality which puts them right up with sonatas of Johannes Brahms. It is all the more surprising, however, that a noteworthy urtext edition of these works did not exist up until now; cellists often had to fall back on copies of the first editions only a few of which are extant. This gap is now closed by the Wiener Urtext Edition – right in time for the 100th anniversary of the composer’s death. It encompasses all three sonatas in one volume, thus adding three ma-sterpieces of Romantic chamber music to the less than comprehensive repertoire of the 19th century for violon-cello and piano.

Grades of difficulty: 1-5

Wiener Urtext Editionwww.wiener-urtext.com

Joseph HaydnComplete Piano Sonatas Content: Hob. XVI:34 (e), Hob. XVI:40-42 (G, B flat, D), Hob. XVI:47-52 (F, C, E flat, C, D, E flat) Editor: Christa Landon /Ulrich LeisingerFingerings: Oswald Jonas Notes on Interpretation: Robert D. LevinGrade: 3–4 UT 50259

When Christa Landon presented her printed edition of Joseph Haydn’s piano sonatas for the first time, Haydn’s sonata works were still overshadowed by the works of Mozart and Beethoven. But Haydn’s sonatas left the niche of piano lessons long since and have be-come established in the concert repertoire; Landon’s edition certainly played a major role in that. The Haydn anniversary in 2009 was a welcome occasion to tho-roughly revise this ‚legendary’ edition, because new sources have been discovered and questions concern-ing authenticity have been clarified over more than forty years; the editorial principles for 18th-century mu-sic in particular have markedly changed in the mean time. The new edition, too, is divided into four volumes, the content of which is compatible with that of each of the volumes of the preceding edition. Volume 4 of the present new edition contains the complete works pub-lished in volume 3 of the former Wiener Urtext edition.In the notes on Interpretation Robert D. Levin explains essential aspects of Haydn’s performance practice.

The Famous Haydn Edition by Christa Landon

brought up to Date

Wiener Urtext Editionwww.wiener-urtext.com

Among the piano sonatas by Joseph Haydn, the Sona-ta in E flat major Hob. XVI:49 is probably the piece we know most about in terms of genesis. It is one of the few sonatas that have survived in Haydn’s own hand-writing, and the correspondence between Haydn and his 18 years younger admirer Marianne von Genzinger refers to the work several times. That alone was rea-son enough for Christa Landon, the renowned editor of Haydn’s piano sonatas in the Wiener Urtext Edition, to present an edition of this work with a facsimile of Haydn’s autograph many years ago. The new edition now publishes the facsimile with the musical text newly revised by Ulrich Leisinger. For this revision, a copyist’s manuscript authorized by Haydn himself, which had be-come available again in 2009, could be consulted for the first time, illuminating many peculiarities found in Haydn’s original manuscript.

Haydn Sonata with Facsimile

of the Autograph

Joseph HaydnPiano Sonata

E flat major Hob. XVI:49Editors: Christa London /

Ulrich LeisingerFingerings: Oswald Jonas

Grade: 3UT 51025

- Urtext + Facsimile

Wiener Urtext Editionwww.wiener-urtext.com

Georg FriedrichHändelSonatas for Violin and Basso ContinuoContent: Sonatas HWV 358, 359a,361, 364a, 368, 370–373,Allegro HWV 408, Andante HWV 412,Two Minuets HWV 420 und 421Editor and Realization of the figured bass: Bernhard MoosbauerNotes on ornamentation:Reinhard GoebelGrade: 3UT 50264

George Frideric Handel’s Sonatas for violin and basso continuo belong to the core repertoire of Baroque violin music, some of them even being among the most famous repertoire pieces of their time. The new edition in the Wiener Urtext Edition is based on Handel’s au-tographs, contemporary copies and first prints. In ad-dition to Handel’s nine violin sonatas, it contains one Allegro, one Andante and two Minuets for violin and basso continuo which have been transmitted in the en-vironment of the sonatas. Apart from the solo violin part and a continuo score with a realized, easily playable basso continuo, the edition also contains a figured bass part which gives experienced continuo players the pos-sibility to improvise their own realization of the basso continuo. The Notes on ornamentation of the renowned Baroque expert Reinhard Goebel provide insights into and suggestions for a sonata performance that was common practice at the time of Handel.

Repertoire Works of Baroque Violin Music

KAT UT 60082-99 PL 2/10