henle memory

Spielerisch Instrumente kennenlernen Memory mit Instrumenten Geeignet ab 8 Jahre Henle Verlag Memory: Musical Instruments - Das Gedächtnisspiel im Überblick Henle Verlag Memory: Musical Instruments - Das Gedächtnisspiel ist perfekt für Musikliebhaber, Familien und Musikpädagogen, die spielerisch ihr Wissen über Musikinstrumente erweitern und ihre Merkfähigkeit verbessern möchten. Entdecken Sie die Vielfalt der Musikinstrumente auf unterhaltsame Weise. Jede Karte zeigt ein detailgetreues Bild eines Instruments, das es zu erkennen und zu merken gilt. So lernen Sie oder Ihre Kinder die Instrumente der Musikwelt kennen und verankern das Wissen nachhaltig. Memory: Musical Instruments ist mehr als nur ein Spiel - es fördert aktiv die Gedächtnisleistung und Konzentration und ist eine ideale Ergänzung für den Musikunterricht, eine unterhaltsame Aktivität für Familienabende oder ein spannendes Spiel für zwischendurch.

In memory of the deceased illustrator and architect Viktor A. Hartmann (1834–1873), an exhibition of his watercolours and drawings was organised in 1874. Modest Mussorgsky, who had been Hartmann’s friend, was inspired by his visit to this exhibition to compose the cycle “Pictures at an Exhibition” for piano solo; a milestone of piano literature. He wrote it in June 1874 in St. Petersburg and subtitled it “Memories of Viktor Hartmann”. The picturesque and evocative musical language, which lets the pictures come to life, has remained fascinating to the present day. The source of the Henle Urtext edition is the cleanly written autograph. The layout of the musical text is based on Mussorgsky’s notation.

The “Valses oubliées” belong to Liszt’s late work, characterised by themes such as memory, sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s, but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.

“Memory of a dear place” is the title given to this collection of three enchanting pieces for violin and piano. The “place” in question was the country estate of Brailov that belonged to Tchaikovsky’s patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky’s matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d’un lieu cher was only added after Tchaikovsky’s death.