SKU: HH.HH188-FSP

ISBN 9790708059639.

The present set of three string quartets, published in Vienna in 1799 by André, are arranged from two violin sonatas and a piano trio; a certain independence is noticeable in the anonymous arranger, but the result is three strikingly effective new quartets to add to the Mozart oeuvre which will delight all players familiar with the originals and prove a gracious alternative to quartets who look for some escape from the familiar and over exposed repertoire.

SKU: HH.HH190-FSP

ISBN 9790708059677.

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.

SKU: HH.HH189-FSP

ISBN 9790708059660.

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.

SKU: HH.HH154-FSP

ISBN 9790708059080.

This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, 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 chiseled, undulating vocal line demonstrates his great gifts as a melodist.

SKU: HH.HH236-SOL

ISBN 9790708059851.

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, is of considerable musicological interest and marks an important addition to the keyboard repertoire of the period.

SKU: HH.HH153-FSP

ISBN 9790708059073.

This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, 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.

SKU: HH.HH227-FSP

ISBN 9790708059387.

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. They feature a number of attractive solos for all four instruments without recourse to gratuitous displays of virtuosity for its own sake.

SKU: HH.HH018_19-IPT

ISBN 9790708024118.

With the unattributed concerto in F, this concerto is the earliest known 'double' clarinet concerto (i.e., with solo parts exclusively for a pair of clarinets of similar type and range), and among the earliest concertos to feature the instrument in any capacity.

SKU: HH.HH018_19-STR

With the unattributed concerto in F, this concerto is the earliest known 'double' clarinet concerto (i.e., with solo parts exclusively for a pair of clarinets of similar type and range), and among the earliest concertos to feature the instrument in any capacity.

SKU: HH.HH121-SSC

ISBN 9790708041436.

The opening movement begins high up with stylised birdsong and moves down through the registers, through Frye’s Motet, to the depths of a tuba solo. The second movement is a slow processional which revolves around a series of chords and leads, without a break, through a tutti passage in octaves to the third, which opens with a trumpet solo and moving through several fast sometimes, contrapuntal episodes to a triumphal arrival of a quotation from a Mass by Jacob Obrecht.

SKU: HH.HH410-FSC

ISBN 9790708059875.

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.

SKU: HH.HH400-FSC

ISBN 9790708059790.

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.

SKU: HH.HH152-FSP

ISBN 9790708059066.

This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the familiar subject of the separation of lovers. 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.