Piano Concerto No. 9 in E-Flat Major, K. 271

Piano reduction in E major and E flat major with parts in E/E flat C and B flatHummel's Trumpet Concerto is still one of the most popular concertos for this instrument. He composed it in 1803 for the Viennese courttrumpeter Anton Waidinger whose newly developed key-trumpet enabled him to play in a much more virtuoso manner than on the traditional natural trumpet. Henle's Urtext edition reproduces the work in the original key of E majorwith solo parts in E and for the more common trumpet in C. Due to the fact that the concerto is nowadays often performed in E flat major this edition also contains a piano reduction in E flat major for trumpets in E flat and Bflat. The different transpositions are now available in one single edition for the first time.

[Konzert für Klavier und Orchester Es-dur KV 271 (Nr. 9) 'Jeunehomme-Konzert'] / Classique / Editeur : Christoph Wolff / Réduction piano / Partition / Cartonné / Plats de carton /

[Konzert für Klavier und Orchester Es-Dur KV 449 (Nr. 14)] / Classique / Editeur : Marius Flothuis / Réduction piano : Mich / Partition / Cartonné / Plats de carton /

Written in 1803 by Johann Nepomuk Hummel (1778-1837) this Trumpet Concerto in E-flat Major is a classical piece of the Trumpet repertoire. Composed in the spirit of Mozart and initially for the keyed-Trumpet it was re-discovered in 1958 by a Yale student after 150 years of inertia due to the obsolescence of the instrument for which it was made. This edition offers a transposition in E-flat Major (initially in E Major) adapted to the instruments in use today. The other instruments to be involved in this concerto are a Flute two Oboes two Clarinets two Bassoons two Horns Timpani and Strings. Hummel?s Trumpet Concerto begins with an orchestra onlyfirst movement in a sonata theme which is repeated with the inclusion of the soloist. This Allegro Spirito sounds reminiscent of the Haffner Symphony (No. 35 in D Major) by Mozart but distinguished itself by a second theme. The second movement Andante is more melodic with the trumpet which holds long notes. Finally the Rondo offers a blissful and bright end to the Concerto. Former student of Mozart Johann Nepomuk Hummel (1778-1837) was a brilliant composer pianist conductor and teacher. Evolving at the same period as Beethoveen he became as famous as him and wrote numerous concertos (for Piano Oboe Trumpet Violin and others) operas and some wind music pieces.

Edition for piano two violins viola and violoncello-Edition for piano two violins viola and violoncello (2-piano reduction with 1 each of the string parts) 'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived piano concertos. These three concertos may be performed not only with a large orchestra including wind instruments but also a quattro that is with two violins one viola and violoncello. They will be issued early in April of this year (1783).' As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his piano concertos K.413-5 and as we know from a letter Mozart wrote to his father inK.449 as well. In addition to orchestral forces it is also possible to use a chamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with piano. These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two pianos the solo Part - as well as the strings - are unchanged and thus identical with the version in the NMA. The piano arrangement adheres to the original orchestral score. Chamber music editions available for: Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

This volume contains two of Beethoven's most loved and widely performed piano concertos printed in the traditional format for two pianos: Piano I is the solo part; Piano II a piano reduction of the orchestral score. Edited by Franz Kullak.

Written in 1934 by Alexandre Glazounov (1865-1936) this Eb Concerto for Alto-Saxophone is a fourteen-minute piece dedicated to Sigmud M. Rasher a famous Saxophonist and soloist. Initially composed for Saxophone and Strings there was no mention of a second composer even though the 1936 publication adapted for Saxophone and Piano mentioned the name by André Petiot (1886-1976). The concerto starts with an Allegro moderato in 4/4 followed by an Andante transition mainly in C flat major at 3/4 and ending on a Fugato in 12/8. The first performance of this concerto in public occurred after the death ofits author in Paris. Alexandre Glazounov (1865-1936) is a famous Russian romantic composer. Considered as a prodigy and mentored by Belyayev he composed ballets concertos symphonies and later became director of the Saint Petersburg Conservatory. He had a strong influence on Stravinsky's and Shostakovich's careers and died near Paris in 1936. This concerto is a classical piece of the Saxophone romantic repertoire.

Clarinet Concerto in E flat major op. 1-This edition completes Henle's series of all three Clarinet concertos by the Swedish composer and clarinettist Bernhard Henrik Crusell. Issued in Leipzig in 1811 the Clarinet Concerto In E-FlatMajor Op.1 was Crusell's first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio it is probably the most“Mozartian” of all of his three concertos although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinettist Nicolai Pfeffer is now presenting this charming work betweenClassicism and Romanticism on the basis of the first edition. The Piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

Au-delà des cinq grands concertos pour piano, on a tendance à oublier que Beethoven s?occupa de ce genre déjà durant sa jeunesse à Bonn.

L?influence de Johann Christian Bach se reflète encore dans le Concerto en Mib majeur, composé en 1784.

La partition d?orchestre de l?oeuvre n?est pas conservée, il ne reste qu?une copie de la partie de piano remaniée par Beethoven. Celle-ci contient la partie de soliste sans accompagnement, sauf aux endroits où le soliste s?arrête et estrelayé par l?orchestre.

À ces endroits, une réduction de la partie d?orchestre figure alors dans la partie de piano. Conforme au texte de l?édition complète des oeuvres de Beethoven, ce concerto pour piano peut désormais être joué sous cette forme conservée ? par un pianiste sans orchestre. / [Concerto pour piano en Mi bémol Majeur WoO 4] / Classique / Partition / Agrafé /

KV 417-Concerto for Horn No.2 in E-flat (K.417) (Urtext).0 2 0 0 - 2 0 0 0 str solo hnPiano reduction