Eduard de Hartog’s Sonate-Symphonie (c. 1840–1850) is an unconventional discovery in the 19th-century piano repertoire: a four-movement sonata with an eclectic style and a distinct pianistic signature. Despite its title, the movements differ in character and are not cyclically connected. The overall structure is classical, yet the musical content reveals a broad stylistic range—from Beethovenian thematic development to Litolff-like bravura writing, and from Chopinesque cantilenas to unexpected modulations and delicate ornamentation.
The outer movements and the Scherzo overflow with virtuosity and rhythmic drive, while the slow movement retreats into long-spun lines and ornamented lyricism. De Hartog’s writing is strikingly transparent: he avoids dense textures and favours fluid, open structures, interspersed with passages of dazzling note density. This unique combination of brilliant keyboard treatment and stylistic versatility makes the Sonate-Symphonie an intriguing work—demanding for the performer, yet rich in character and colour.
An Urtext edition presents the music as faithfully as possible to the composer’s intentions. It is based on all available primary sources—first editions, autograph manuscripts, and reliable contemporary copies—and reproduces the musical text without arbitrary additions or editorial rewriting. At Felix Editions, editorial intervention is limited to the correction of obvious errors and is documented in the critical notes, ensuring historical accuracy together with practical clarity for performers.
For lesser-known composers, surviving sources are often exceptionally rare—sometimes only a single print or manuscript. Preparing an Urtext under such conditions requires careful reconstruction and cross-verification of fragmentary evidence. Our editions therefore combine scholarly rigour with curatorial work, making otherwise inaccessible music available in its most authentic form.
Each publication is produced to high standards of clarity, durability, and aesthetic refinement. Scores are printed on archival-grade, acid-free paper, chosen for its pleasant texture, natural colour, and stability over time.
Depending on page count, albums appear in two formats:
– Saddle-stitched for shorter works;
– Black wire binding for larger volumes, allowing pages to turn easily and remain open on the stand.
Every title is beautifully typeset to enhance both appearance and usability. Proportion and spacing are carefully balanced for legibility; page turns are planned so that, wherever possible, they avoid technically demanding passages. The result is a publication that is as pleasing to the eye as it is to play or read.
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