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Menuet sur le nom d'Haydn

Edited from the aitograph and first prints by Theo Hirsbrunner and Jochen Reutter
Fingerings and Notes on Interpretation by Peter Roggenkamp
piano
Product number: UT50265
Edition: Urtext
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Product Type
Print edition
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Product Details

Description

Maurice Ravel wrote his 'Menuet sur le nom d'Haydn' in September 1909 to commemorate the Viennese classicist who died 100 years before on 31 May 1809.  The piece was published for the first time in connection with an 'Hommage à Joseph Haydn' in the Revue musicale to which several contemporaries of Ravel contributed as well. The original edition, still in use today, was published shortly after. A comparison with the composer's autograph, currently in France and privately owned, clearly shows the errors and shortcomings of the two first editions so that Ravel's musical intentions can now be published in full measure for the first time in the present new critical edition.

More Information

Title:
Menuet sur le nom d'Haydn
Edited from the aitograph and first prints by Theo Hirsbrunner and Jochen Reutter
Fingerings and Notes on Interpretation by Peter Roggenkamp
Urtext
Edition:
Urtext
Level of difficulty:
advanced
Publisher/Label:
Wiener Urtext Edition
Series:

Technical Details

Media Type:
Sheet music
Product number:
UT50265
ISMN13:
979-0-50057-296-1
ISBN13:
978-3-85055-671-2
UPC:
800522002311
Weight:
0,07 kg
Pages:
8
Binding:
Saddle-wire stitching
Manufacturer:
Universal Edition AG
1010 Wien
Austria

More from this series

Wiener Urtext Edition

Standard works of music literature in the original text

The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):

Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.

In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.

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