Partituras de edición Urtext

A su colección de 13 canciones para piano, op. 34, Rachmaninov añadió tres años más tarde una breve pieza final sin letra: «Vocalise», que pronto se convirtió en un éxito mundial. Desde su estreno en...

Orchestral material according to the new Brahms Complete Edition by G. Henle Verlag. All conducting scores and orchestral parts are available exclusively through Breitkopf & Härtel. Urtext nach der ne...

Orchestral material according to the new Brahms Complete Edition by G. Henle Verlag. All conducting scores and orchestral parts are available exclusively through Breitkopf & Härtel. Urtext nach der ne...

2.2.2.Kfg. - 4.2.3.0. - Pk - Str (Pascall, Robert) Orchestral material based on the new Brahms Complete Edition published by G. Henle. All conducting scores and orchestral parts are available exclusiv...

2.2.2.Kfg. - 4.2.3.0. - Pk - Str (Pascall, Robert) Orchestral material based on the new Brahms Complete Edition published by G. Henle. All conducting scores and orchestral parts are available exclusiv...

Johannes Brahms’ masterful Double Concerto in A minor, Op. 102, captivates audiences with its profound and virtuoso dialogue between solo violin, solo cello, and orchestra. Presented in its revised 2n...

Johannes Brahms' Concerto for Violin, Cello and Orchestra in A minor, Op. 102 – the famous Double Concerto – captivates audiences with its incomparable symphonic depth and the passionate dialogue betw...

Johannes Brahms's only violin concerto, one of the most important violin concertos of the 19th century, is now a central repertoire piece. This fact is all the more notable, as, by his own account, Br...

Johannes Brahms's only violin concerto, one of the most important violin concertos of the 19th century, is now a central repertoire piece. This fact is all the more notable, as, by his own account, Br...

The aim of the critical-practical edition is to bring the performance material for this standard work of Baroque music literature into line with the current state of knowledge and to satisfy practical...

The aim of the critical-practical edition is to bring the performance material for this standard work of Baroque music literature into line with the current state of knowledge and to satisfy practical...

The aim of the critical-practical edition is to bring the performance material for this standard work of Baroque music literature into line with the current state of knowledge and to satisfy practical...

The aim of the critical-practical edition is to bring the performance material for this standard work of Baroque music literature into line with the current state of knowledge and to satisfy practical...

The aim of the critical-practical edition is to bring the performance material for this standard work of Baroque music literature into line with the current state of knowledge and to satisfy practical...

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)