A six-month tour through Spain and Portugal left its mark … Fascinated by the temperamental melodies of the Iberian peninsula Liszt integrated elements of this music into his piano works. The character of the “Rhapsodie espagnole” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-old theme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”)- both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.? A six-month tour through Spain and Portugal left its mark… Fascinated by the temperamental melodies of the Iberian Peninsula Liszt integrated elements of this music into his Piano works. The character of the“ Rhapsodie Espagnole ” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-oldtheme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”); both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.

Piano Sonata a minor op. 42 D 845-Schubert composed his piano sonata in a minor in May 1825 it is one of Schubert’s few piano works that was published during his lifetime. The four movements are expressive but each in its own way: a ballade style in the first piece a songful second movement surging restlessness in the third and eruptive passion in the final movement. Together however they constitute a uniform work. An Urtext edition of Franz Schubert's Piano Sonata In A Minor D.845 Op.42 as edited by Paul Mies with fingering by Hans-Martin Theopold.

Valses oubliées-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.?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” alludesto 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 harmonicprogressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. This new edition affords pianists an opportunity to discover all four waltzes and their characteristicidiosyncrasies. Valse oubliée Deuxième Valse oubliée Troisième Valse oubliée Quatrième Valse oubliée

This piano sonata – probably Haydn’s last – has unfortunately come down to us without an autograph. The composer in all likelihood offered the work and its publication rights to the London-based pianist Therese Bartolozzi (née Jansen). In any event and no doubt feeling entitled to do so she added the words “Composed expressively for and Dedicated to Mrs. Bartolozzi” before sending it off to print in fact she personally distributed the edition published in London in 1801 in copies with her signature. Like its companion work the Sonata in E-flat major Hob.XVI:52 the C major sonata was written in London in 1794/95 . However its central movement is based on an Adagiothat Haydn had composed in 1793 in Vienna and which Artaria published around 1794. The variants contained in this early version are reproduced as Ossias in our Urtext edition which is based on the text of the Haydn Complete Edition. Joseph Haydn 's Piano Sonata In C Hob. XVI:50 for solo Piano. Suitable for pianists at an advanced level.

Italian Concerto French Overture Four Duets Goldberg Variations-The Clavierübung published in four sections belongs to the few works of Bach that he allowed to be printed during his lifetime. Part I which appeared in print in 1731 contains the six Partitas Parts II–IV were issued in 1735 1739 and 1741/2. These are the parts that form the basis for the compilation that we find in this volume. The Italian Concerto and the French Overture constitute Part II and in a way serve as a kind of echo of French and Italian orchestral music of the time here transposed to the keyboard. The Four Duets are contained in Part III of the Clavierübung next to important works for the organ however since they are conceived for two parts they are idealfor piano or harpsichord. A collection of some of Bachs finest compositions for solo Piano. Includes: Italian Concerto French Overture Four Duets Goldberg Variations.

Piano Sonata A major op. post. 120 D 664-Schubert occupied himself intensively with the sonata form in 1818/19. The results to put it like this led to the creation of this piano sonata in A major probably in summer 1819 thus at about the same time as the Trout Quintet. Not surprisingly it exudes a serene spring feeling. One of Schubert’s major sonatas the work imposes considerable technical demands on the performer but can still be mastered by non-professional pianists. A highly authoritative Urtext edition of Franz Schubert's pastoral Piano Sonata In A D.664 Op.120 posth. as edited by Paul Mies and fingered by Hans-Martin Theopold.

The String Quartets in a Slipcase-On the occasion of Haydn’s anniversary year 2009 we have a particular highlight: all of Joseph Haydn’s 69 string quartets in 12 paperback editions collected together in an extremely affordable slipcase. All of the study scores minutely follow the musical text contained in the uncontested reference edition by the Joseph Haydn Institute in Cologne whose scholarly critical Haydn Complete Edition is also published by Henle Publishers. Each quartet opus reflects the latest in scholarly research and is introduced by an informative preface. The musical text fulfils the highest aesthetic demands. A welcome present for every chamber music fan and the basis for every serious quartetplayer who wishes to play or study these works.? All of Joseph Haydn's 69 string quartets in 12 paperback Urtext study editions collected together in a slipcase. All of the study scores minutely follow the musical text contained in the uncontested reference edition by theJoseph Haydn Institute in Cologne whose scholarly critical Haydn Complete Edition is also published by Henle Publishers. Each quartet opus reflects the latest in scholarly research and is introduced by an informative preface. Themusical text fulfils the highest aesthetic demands. A welcome present for every chamber music fan and the basis for every serious quartet player who wishes to play or study these works.

Carnival of Vienna op. 26-Like many other nineteenth-century musicians Robert Schumann wanted to settle down in the musical capital of Vienna. Though these plans came to naught his stay in Vienna in 1839 gave rise to an entire series of valuable works for the piano including the famous Faschingsschwank aus Wien (“Carnival of Vienna”). Schumann himself called the opus a “romantic spectacle” and it met with a decidedly warm response from the critics: “Flashes of humor appear at every turn- skyrockets of wit and unbridled merriment soar upwards into the skies from all sides.” The first public performance had to wait until 1860 after Schumann’s death when his widow Clara presented Faschingsschwank to aViennese audience. It was not least through this performance that Schumann's music found a home on the River Danube. The brilliant work has rightly remained in the standard repertoire to the present day.? Faschingsschwank Aus Wien (Carnival Of Venice) Op.26 is an exciting yet rather unusual Piano work in five movements composed by Robert Schumann in 1839. Although the structure of this piece is more integrated than a Suite it is not quite a Sonata for Piano. These are five beautifully complimenting movements which will provide an enjoyable challenge for the advancing pianist. This Urtext edition of Robert Schumann's Faschingsschwank AusWien Op.26 provides you with an accurate realisation of the composer's original intentions with thorough and detailed editorial markings and suggestions.

The Serenade op. 41 is based on Beethoven’s Opus 25 for flute violin and viola. Although the version for piano and flute (or violin) did not originate from the composer – but was probably undertaken by the composer Franz Xaver Kleinheinz – Beethoven did however “look through it and substantially improve some passages” as he assured his publishers Hoffmeister &- Kühnel in September 1803. With the accolade “revue par l’Auteur” the arrangement was soon widely disseminated. We are publishing a revised edition of this charming serenade incorporating the latest scholarly Beethoven research (to date HN 301). It contains new extensive texts concerning the genesis and sourcesituation. Works by this publisher are not included in the main catalogue.

The Romance for a melodic instrument and Piano was a very popular genre in French salon music of the nineteenth century. Saint-Saëns also wrote several such pieces for Violin Cello and Horn. His only Romance for Flute was composed in 1871 shortly after the Société nationale de musique had been founded. It was premiered in this new forum for Piano music and chamber works a year later too. In spite of its brevity the piece contains numerous harmonic and melodic refinements which rapidly made it popular among flautists – both in the original setting with Piano accompaniment as well as in the later orchestral version. The Henle Urtext edition is the firstcritical edition of this piece which is also very popular with learners of the Flute.

Chopin’s Polonaise in A major op. 40 no. 1 is better known as the “Military Polonaise”. Indeed the brisk rhythm the “drum roll” in the middle section and the heroic demeanour of the work in general all evoke the world of military music. A favourite for many generations now the work has nevertheless faced a complex source situation the editor must deal with two strands of sources that diverge considerably from one another. Our separate publication of the piece solves this problem masterfully it is based on the musical text of the Chopin anthology of Polonaises (HN 217) and thus offers the typically high-quality and reliable Urtext of G. Henle Verlag.

Piano Sonata F major K. 332 (300k)-The three piano sonatas K. 330–332 were probably written in Vienna or Salzburg in summer 1783 thus many years later than previous Mozart scholarship had assumed. This F-major sonata K. 332 was published in Vienna the following year 1784 together with its two “sisters” K. 330 and 331. Textual differences between the first printed edition and the autograph are so severe that the editor of this Henle Urtext edition has chosen to adopt both the richer dynamic markings of the latter (presented in small print) and the more sumptuous ornamentation from the first edition of the slow movement (in the main text the plainer autograph version is offered there as an “ossia”). One ofMozart’s technically more challenging sonatas especially in the finale.

A revised urtext edition of HN9036 Johannes Brahms ' Piano Pieces edited by Katrin Eich with fingering by Andreas Boyde .

From the outset Johann Wolfgang von Goethe intended music to play a role in his tragedy “Egmont” which takes place during the uprising of the Dutch against Spanish dominion in the 16th century. Ludwig van Beethoven wrote the incidental music for a performance of the tragedy in Vienna’s Burgtheater in the spring of 1810. Unfortunately mostly only the overture is performed in the concert hall. This paperback piano reduction in a reliable Henle Urtext edition now provides the complete incidental music with the song texts. This is an ideal way of getting to know the overture Klärchen’s songs the entr’acte music and the concluding triumphal symphony. We can here admire theinteraction of two geniuses. Piano Score version of Beethoven's indicidental music to Egmont.

Who was “Pauline Countess of Abegg” the dedicatee of the first edition? Nowadays it is known that the matter revolves around a romantic mystification of the name of Meta Abegg a friend from Schumann’s youth whose surname inspired Schumann to a theme on A-B-E-G-G (a-hb-e-g-g). The “rewarding and sparkling piece” – as it was described by a critic of the time – makes high technical demands but is distinguished by a youthful freshness and ingenious virtuosity.With this work (the first incidentally that Schumann deemed worthy of publication) Henle has issued a good third of Schumann’s piano works in revised versions that take account of the current state of research. Thethoroughly-revised musical text is complemented by an informative preface and detailed commentary. Although originally conceived as a virtuoso piece for Piano and Orchestra with a thematically unrelated introduction Schumann's Abegg Variations Op.1 remains an important work in the solo piano repertoire. Full of richtextures sonorous harmonies and extensive passagework this work is an exciting and challenging piece for the advancing and accomplished pianist alike. This highly authoritative Urtext edition of the score provides theclosest representation of the composer's original intentions as edited with critical commentaries by Ernst Herttrich and fingered by Walther Lampe.

Time and again Chopin succeeded in giving different piano music genres their own individual characters whether etudes preludes waltzes scherzi or nocturnes. The Irishman John Field had already composed over 20 nocturnes which presumably greatly influenced Chopin. The latter continued to develop the light song-like piano writing and created works whose dreamy longing atmosphere came to embody Chopin’s music. Our volume contains the works that were published during Chopin’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharp minor – in two authentic versions. Time and again Chopin succeeded in giving different Piano music genres their own individual characters whether etudes preludes waltzes scherzi or Nocturnes . The Irishman John Field had alreadycomposed over 20 nocturnes which presumably greatly influenced Chopin . The latter continued to develop the light song-like Piano writing and created works whose dreamy longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharpminor – in two authentic versions.

Brahms s’acharna pendant des années sur l’écriture de sa première symphonie. Son impuissance face à l’œuvre de Beethoven semblait le paralyser. À ce propos il écrivit d’ailleurs un jour à son ami le chef d’orchestre Hermann Levi: «Je ne composerai jamais de symphonie! Tu n’as aucune idée de ce que cela peut avoir d’impressionnant pour nous d’entendre toujours un tel géant (Beethoven) marcher derrière soi». Brahms y parvint pourtant en octobre 1876 et sa première symphonie donna lieu aussitôt aux premières exécutions – couronnées de succès – à Karlsruhe Mannheim Munich et Vienne. Cette œuvre publiée dans le cadre de notre nouvelle édition complète des œuvres de Brahms faitl’objet ici d’une édition en format d’étude. Dans la préface à cette édition urtext en petit format notre éditeur et spécialiste de Brahms Robert Pascall apporte des informations intéressantes sur la genèse et l’histoire de l’édition de l’œuvre.

Joseph Haydn presumably composed his nine little early keyboard sonatas for the harpsichord. He still gave some of them titles such as “Partita” or “Divertimento”. Their origins reach back into the 1750 and 1760s. A rather short concise form with only one theme in the sonata movement predominates. They are thus optimal works for piano pupils to become acquainted with Master Haydn and his piano oeuvre. The present Urtext edition is based on the Haydn Complete Edition issued by the same publisher. The musical text is reproduced according to the authentic sources where these are no longer extant it is based on the oldest extant source. Nine Little Early Sonatas for Piano solo by Joseph Haydn including Hob.XVI:1 3 4 7-10 G1 and D1. Henle Urtext edition by Georg Feder.

From early childhood Max Reger grew into the tradition of artisanal practical composition in which Johann Sebastian Bach became his role model. Traditional forms such as canon fugue passacaglia and variation gave stable form to his means of expression. But there is also another Reger. In the “Blätter und Blüten” (“Leaves and Blossoms”) whose moods range from the humorous to the melancholic we find a sentimental romantic side to Reger that rarely receives attention. The pieces bear titles such as “Spring Song” “Hunting Piece” “Moment musical” or “Elegie”. Something of Schumann’s melodic charm Brahms’s profundity and Grieg’s folk style resonates here. With this Urtextedition pianists can discover these pieces for themselves. The fingerings are by Helmut Brauss an expert on Reger’s piano music.

C. Ph. E Bach 's Flute Concerto In D Minor Piano reduction with catalogue. Includes a preface in English German and French.