In a note for the planned first edition of his Hungarian Peasant Songs in 1914 Bartók wrote that “the melodies published here are folksongs in the truest sense of the word; more precisely peasant songs”. Bartók initially withdrew this work from publication however and added new pieces to it using folk music he had collected in the meantime. The first edition was only finally published in 1920. The Bartók scholar László Somfai explains the work’s complicated genesis in his preface. The comments at the close of this edition include important indications regarding performance practice derived from the two recordings that the composer made of several of its pieces in 1927 and1936. The musical text here follows that of the corresponding volume of the Bartók Complete Edition that is currently in preparation. This is yet another highly popular Bartók work on offer from G. Henle Publishers! In a note for the planned first edition of his Hungarian Peasant Songs in 1914 Bartók wrote that “the melodies published here are folksongs in the truest sense of the word; more precisely peasant songs”. Bartók initiallywithdrew this work from publication however and added new pieces to it using folk music he had collected in the meantime. The first edition was only finally published in 1920. The Bartók scholar László Somfai explains the work’scomplicated genesis in his preface. The comments at the close of this edition include important indications regarding performance practice derived from the two recordings that the composer made of several of its pieces in 1927 and1936. The musical text here follows that of the corresponding volume of the Bartók Complete Edition that is currently in preparation. This is yet another highly popular Bartók work on offer from G. Henle Publishers!

String Quintets op. 18 and 87-The genesis of Mendelssohn’s string quintets is closely connected to his friend Eduard Rietz and the latter’s brother Julius. Deeply affected by Eduard’s death in 1832 Mendelssohn exchanged the “Minuetto” movement in his A major Quintet op. 18 written six years previously for a newly composed adagio. It was in this form that the work was finally sent to the publisher. The Quintet in B flat major was only published after Mendelssohn’s death- numerous unauthorized entries by Julius Rietz thus found their way into performance practice. An examination of the autograph allowed us to return the work to ist original form – the commentary contains detailed information on this.? The genesis of Mendelssohn ’s String quintets is closely connected to his friend Eduard Rietz and the latter’s brother Julius. Deeply affected by Eduard’s death in 1832 Mendelssohn exchanged the “Minuetto”movement in his A major Quintet Op. 18 written six years previously for a newly composed adagio. It was in this form that the work was finally sent to the publisher. The Quintet in B flat major was onlypublished after Mendelssohn ’s death; numerous unauthorized entries by Julius Rietz thus found their way into performance practice. An examination of the autograph allowed us to return the work to its original form – thecommentary contains detailed information on this.

Hob. XVII: 4-When he switched from the harpsichord to the fortepiano in the 1780s Joseph Haydn found he had a rich palette of sound colours and dynamic variations at his disposal and he employed them enthusiastically in his C-major Fantasy. This piano piece composed in early 1789 in a “whimsical hour” was intended by Haydn to meet with approval from “both connoisseurs and amateurs” – not least because it is “not too difficult”. Christine Schornsheim provides historically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition and provides an ideal means for players to get to grips with Haydn’s experiments with the sounds of the piano.When he switched from the harpsichord to the fortepiano in the 1780s Joseph Haydn found he had a rich palette of sound colours and dynamic variations at his disposal and he employed them enthusiastically in his C-major Fantasy. This piano piece composed in early 1789 in a “whimsical hour” was intended by Haydn to meet with approval from “both connoisseurs and amateurs” – not least because it is “not too difficult”. Christine Schornsheim provides historically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition and provides an ideal means for players to get to grips with Haydn’s experiments with the sounds of the piano.

Tost Quartets-The chamber music world has been eagerly awaiting this – all of Haydn’s string quartets are finally available in Henle Urtext quality! The last edition to be finished contains the String Quartets op. 54/55 sometimes also known as the “First Tost Quartets”. Contrary to what the opus numbers might suggest it is a cohesive cycle of six works. Mozart’s influence is felt more deeply the forms are more diverse and the first violin is every now and then required to do real acrobatics. In this volume in particular several treasures can be found that are not often played. We are delighted to be able to release this last volume in a total of twelve with its accompanying studyedition.? The chamber music world has been eagerly awaiting this – all of Haydn's string quartets are finally available in Henle Urtext quality! The last edition to be finished contains the String Quartets op. 54/55 sometimes also known asthe 'First Tost Quartets'. Contrary to what the opus numbers might suggest it is a cohesive cycle of six works. Mozart's influence is felt more deeply the forms are more diverse and the first Violin is every now and thenrequired to do real acrobatics. In this volume in particular several treasures can be found that are not often played.

These are the last of the nearly seventy quartets in Haydn’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103 adding to the print the portentous words: “Gone is all my strength old and weak am I.” Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far asto call op. 77 no. 2 his “most beautiful string quartet.”? These are the last of the nearly seventy quartets in Haydn ’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn ’s healthwas so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as Op. 77 . Later he allowed an incomplete work consisting of two middle movementsto appear as op. 103 adding to the print the portentous words: “Gone is all my strength old and weak am I.” Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith ofhis powers. Haydn even went so far as to call Op. 77 no. 2 his “most beautiful String quartet”.

To commemorate the 200th anniversary of Robert Schumann’s birth an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works comprising six volumes are now available in paperbound or clothbound editions as well as a study edition set in a slipcase. Clearly ordered by opus numbers the complete edition includes not only all of Schumann’spiano works revised to reflect the latest scholarlyfindings but also informative commentary texts alternative versions and many things more. Contents: Fantasie für Klavier C-dur op. 17- Arabeske op. 18- Blumenstück op. 19- Humoreske B-dur op. 20- Novelletten op. 21- Sonate g-moll op. 22-Nachtstücke op. 23 On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces. Contents: Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23

Corelli Variations op. 42- Rachmaninoff wrote his well-known Piano cycle in 1931 at a time when his great works for Piano solo and the Piano concertos had already made him very famous. Yet it is by no means the “work of an old man”. Thecomposer’s variations on the theme “La folia” (taken from a sonata by Corelli) are like a series of fireworks on the Piano. He once drily said to a friend “All this mad running about is necessary in order to efface the theme”.Did Rachmaninoff succeed in silencing “la folia” – i.e. the “madness”? Why not see for yourself.

When Liszt took over the direction of the Court Opera in Weimar he spent a great deal of time exploring Goethe’s works. He was particularly attracted to the subject-matter of Faust. He used Nikolaus Lenau’s “Faust” a comprehensive poem in 24scenes as the model for his orchestral work in two parts “Episodes from Lenau’s Faust”. The second part “Dance in the Village Inn” was originally written for piano solo. He gave this wild piece which builds up to an almost delirious climax thetitle “Mephisto Waltz”. The piano composition soon spread around the world in its own right and even today is considered to be the quintessential bravura piece. For the first time a version of the piece that was abridged and simplified by Liszt canbe found in the appendix.Mephisto Waltz (The Dance at the Village Inn). Episode from Lenau's 'Faust'. Franz Liszt: Mephisto-Walzer (Der Tanz in der Dorfschenke) Episode aus Lenaus 'Faust'

Sopra La Lontananza Del Frato Dilettissimo BWV 992-Along with his major cycles such as the English and French suites the Goldberg Variations or the Well-Tempered Clavier Bach also left a wealth of single pieces with a great diversity of titles they stem in large part from his early youth and student period around the years 1700-1710. The title of the present work – translated as “Capriccio on the departure of his most beloved brother” – reveals that this is programmatic onomatopoeic music of the kind that was very popular in the 17th and 18th centuries. In its six short and imaginatively-titled movements Bach shows a different side of himself from the usual polyphonist. Perhaps we owe this piece to the departure of his brotherJohann Jacob Bach who entered service in Sweden in 1704. J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece waswritten and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas ofJohann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

Following the first two volumes of Haydn’s string trios in a study score (HN 9424 und 9425) we are now publishing the third and final one. Although Haydn is said to have composed about 60 string trios most of them must be discounted for source-critical and stylistic reasons. The eighteen trios which definitely lay claim to authenticity were published in volumes 1 and 2. The third volume contains eight trios attributed to Haydn although his authorship cannot be proven. In addition to the Urtext edition (HN 628) these charming works are now also available in a handy score format. The musical text is that of the Haydn Complete Edition and it has been complemented by anew and informative preface by the Haydn scholar Sonja Gerlach.? Contains a range of Divertimento pieces arranged for 2 Violins and a bass instrument normally Cello. Preface and comments by Sonja Gerlach.

Edition without fingering-Johann Sebastian Bach was not only an extremely skilled composer but also an ingenious teacher. Even today many piano students learn the basics of technique with his “Inventions” und “Sinfonias” and at the same time the most important elements of “classical” music. Bach called the 15 two-part pieces “Inventions” and the three-part ones “Sinfonias”. He wrote a preface to the musical text dedicating it to “amateurs of the piano but in particular to those who desire to learn”. Bach’s preface and a table with the most common ornaments in the “Clavierbüchlein für Wilhelm Friedemann Bach” are also reproduced in the Henle edition. The complete collection of inventions andsinfonias (HN 64) is also available. Bach's Sinfonias 1-15 (Three Part Inventions) included in this edition were a part of what Bach described as his 'honest method by which amateurs of the keyboard - especially however those desirous of learning - are shown aclear way not only (1) to learn to play cleanly in two parts but also after further progress (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to developthe same well; above all however to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.' This Urtext edition makes use of the latest research and thus is as accurate aspossible. Recommended follow up to Bach's Two Part Inventions also published by G. Henle Verlag HN1169.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart’s piano concertos. His piano reductions are aimed at amateurs rather than professionals- his fingerings for Mozart’s solo part have been exquisitely fine-tuned and are inspiring- and where Mozart’s original cadenzas are missing Schiff’s stylistically perfected ones have been included. In so doing we aspire to set a new precedent. First and foremost Mozart’s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart’s own manuscripts early copies in parts and prints also contain important information regarding themusical text. A co-production with Breitkopf & Härtel Mozart’s piano concertos are not only available as attractive and affordable piano reductions there are also an accompanying Urtext conductor’s score orchestral parts and a study score. Henle Verlag Urtext 2 Piano Score. Piano reductiuon of original orchestral accompaniment.

Goldberg Variations BWV 988-The “Goldberg” Variations are without a doubt the most important piano cycle of the 18th century. Only Beethoven’s “Diabelli” Variations from the 19th century can be compared to them as far their far-reaching significance is concerned. Bach’s ownmanuscript might not have survived but the corrected first printing of the “Aria mit verschiedenen Veraenderungen vors Clavicimbal mit 2 Manualen” (thus the title) has done so. This first edition serves as the primary source for our edition -furthermore the musical text was compared to other sources as for example with Bach’s own record of the “Aria” (not yet referred to as such) in the little notebook for Anna Magdalena .An authoritative edition of Bach's widely celebrated and much-loved Goldberg Variations BWV 988 edited by Rudolf Steglich.

On the 200th anniversary of Robert Schumann’s birth an ambitious project is coming to a close: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from our catalogue. Arranged clearly according to opus numbers it includes not only all of Schumann’s piano works revised to reflect the latest scholarly findings but also informative accompanying texts alternative versions and much more besides. On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Contents: Abegg Variations op. 1 Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834) Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9 Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111

Piano Works Volume III-To mark the 150th anniversary of Debussy’s birth in 2012 we are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music it was important for us to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s we have steadily been publishing single editions of all of Debussy’s important works for the piano. Our editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the Danse bohémiennefrom 1880 all of the single works from our catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little encore we have included the Prélude to the cantata La Damoiselle élue in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy! To mark the 150th anniversary of Debussy’s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy’simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

revised edition of HN 293-Unlike other late works by Franck the Violin Sonata of 1886 found a friendly reception among critics and public from the outset. It is dedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless violin technique. Ysaÿe was so inspired by the Sonata that he promised “I will play this masterpiece wherever I can find an artistically-minded pianist”. Nothing has changed to the present day regarding the work’s continuing popularity but it was time to revise Henle’s previous edition to reflect the latest research. In the intervening period it has been shown that Franck was actively involved in reading the proofs for the printed edition meaningthat the first edition which contains many differences from the autograph has become the basis for our new one. The markings of the violin part of our edition are by Yehudi Menuhin Daniel Hope has undertaken the changes required by the revised musical text. Whilst some late works by César Franck have received criticism the Sonata For Piano and Violin In A Major of 1886 found a friendly reception among critics and public from the outset. This work isdedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless Violin technique. Ysaÿe was so inspired by the Sonata that he promised 'I will play this masterpiece wherever I can find anartistically-minded pianist'. Nothing has changed to the present day regarding the work's continuing popularity but it was time to revise Henle's previous edition to reflect the latest research. In the intervening period ithas been shown that Franck was actively involved in reading the proofs for the printed edition meaning that the first edition which contains many differences from the autograph has become the basis for this new one.The markings of the Violin part of Henle's edition are by Yehudi Menuhin; Daniel Hope has undertaken the changes required by the revised musical text.

Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection “Canzoniere”. In these sonnets he expressed his adoration of Laura a mysterious female figure although it is not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume (“Italy”) of his “Années de Pèlerinage” (HN 174). The second Petrach sonnet no. 104 is particularly popular.?Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection 'Canzoniere'. In these sonnets he expressed his adoration of Laura a mysterious female figure although itis not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume('Italy') of his 'Années de Pèlerinage' (HN174). The second Petrach sonnet no. 104 is particularly popular.

Single Edition From Hn 404- This piece is straightforward in its construction but highly advanced in its harmonies and links up with the widely popular 19th-century tradition of the night piece or nocturne forpiano. Its themes and modulations are highly reminiscent of Gabriel Fauré but in its chromatic voice-leading and unusual treatment of metre - such as in the 7/4 central section - Debussy makes a statementall of his own. Nothing is known about the history of its composition. Debussy's 1892 contract with his publisher states merely that the composer had originally called it Interlude but then decided uponthe far more suitable title of Nocturne. One of Debussy's most popular early piano works it is now available in a Henle Urtext edition.

Opus 23 Nr. 4-Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece an ideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings are by Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece anideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings areby Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.

After a twelve-year interval Dvo ák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where agroup of Czech immigrants had settled thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation ofbirdcalls. Since the first performances certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans which led to the soon popular workbeing called the “ American Quartet ”. For the first time since 1955 the Quartet is once again being published in an Urtext edition.