The Seasons-Spurred on by the tremendos success of the “Creation” van Swieten who had written the libretto and comissioned the work prompted Haydn to compose a further large-scale oratorio. At first the composer was not very enthusiastic about the libretto which described the seasons and the worries and joys of peasant life. Following its premiere Haydn spoke of his work with great pride. – During its genesis he had made changes and new versions of different parts several times. Our study edition which follows the scholarly musical text in the Haydn Complete Edition (published in 2007) also contains the most important early versions and sketches in an appendix.?This high quality hardback study edition which follows the scholarly musical text in the Henle Haydn Complete Edition (published in 2007) also contains the most important early versions and sketches in an appendix.

Chromatic Fantasy and Fugue d minor-Bach’s Chromatic Fantasy and Fugue BWV 903 and 903a is one of his most fascinating works. It was apparently already greatly admired during his lifetime for it survives in numerous copies which present some occasionally very different versions especially in the Fantasy. Bach seems to have revised it several times since there is no extant autograph one of these divergent versions of the Fantasy has been reproduced in the Appendix of the Henle Urtext edition.

The Shepherd on the Rock D. 965 for Voice Clarinet and Piano-The Shepherd on the Rock composed in the final year of Schubert’s life was in a certain sense a commission. The opera singer Anna Milder-Hauptmann the fi rst Leonore in Beethoven’s Fidelio had asked Schubert in letters written between 1824 and 1825 to write a grand scene for voice for her. Yet he only finally started work on it in autumn 1828. He used three different poems as the basis for his work combining them to form an equally brilliant and atmospheric musical scene. The clarinet adds to its particular charm sometimes joining in as a soloist at other times following the voice like an echo - ensuring Schubert’s Shepherd a special place in the repertoire even today.? The Shepherd on the Rock composed in the final year of Schubert ’s life was in a certain sense a commission. The opera singer Anna Milder-Hauptmann the first Leonore in Beethoven’s Fidelio had asked Schubert in letters written between 1824 and 1825 to write a grand scene for voice for her. Yet he only finally started work on it in autumn 1828. He used three different poems as the basis for his work combining them to form an equally brilliant and atmospheric musical scene. The Clarinet adds to its particular charm sometimes joining in as a soloist at other times following the voice like an echo - ensuring Schubert ’s Shepherd a special place in the repertoire even today.

String Quartet a minor op. 132-Attention string quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with op. 131 in c sharp minor and op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. The editor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late string quartets are scheduled for subsequent publication in the Gesamtausgabe.Franz Beyer the authority on string quartets with regard to this new issue: The most significant edition over the last twenty years worldwide! Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven ‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Urtext Edition-In the Classical period and well into the 19th century piano trios were something of a musical fashion accessory. There was thus good reason for Beethoven also to engage with the genre following the example set by Haydn and Mozart. He left 13 piano trios in all. +B107The works contained in Volume III almost all present a few peculiarities: opus 44 is also not a complete trio for instance but consists of only one single variation movement! WoO 37 written while Beethoven was still in Bonn is striking for its scoring (piano flute and bassoon). He wrote WoO39 for Maximiliane youngest daughter of the Brentano family “to encourage her piano playing”. Op. 38 is anarrangement of the Septet op. 20 for piano clarinet and violoncello and the last piece has come down to us only in one sketchbook from Beethoven’s Bonn period. None of these works has the weight of Beethoven’s major piano trios nevertheless they remain witnesses to his supeme artistry.

Piano Sonatas Volume 2-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826 and finally to the three masterworks written shortly before his death which place him on a level with Beethoven as a composer of sonatas. Volume II of the three-book Henle Urtext edition contains not only the G major Sonata D 894 op. 78 with its glorious piano writing full of delicate expressiveness but also the three great sonata masterpieces in c minor A major and B flat major with which Schubert looks far into the future and which have long since taken their place in the classical canon of piano sonata literature. Paperbound edition Sonata G major op. 78 D 894 Sonata C minor D 958 Sonata A major D 959 Sonata B flat major D 960

This “No. 1” of Mozart’s eighteen total piano sonatas is nevertheless not the very first one that he composed. It is well known that the “Wunderkind” Mozart had previously written at least four piano sonatas (K. Anh. 199–202) though these have never surfaced. And the sequence 1–6 of the piano sonatas K. 279–284 which were probably composed in Munich at the beginning of 1775 is based solely on Mozart’s retroactive numbering of them (with just the manuscript of the first movement of the first sonata having been lost). In the family correspondence these six sonatas are incidentally characterized many times as the “difficult sonatas.” That can scarcely be meant in atechnical sense but as the editor of the Henle Urtext edition Ernst Herttrich surmises might rather have alluded to their enormous “aesthetic interpretive demands ” given that “Mozart furnished … the six sonatas with exceptionally rich dynamic and articulation markings … more than any of his previous works.” Henle Verlag Urtext Edition of Mozart's Piano Sonata In C KV.279 .

This “little” D-major sonata is somewhat the pansy (or violet?) among Mozart’s eighteen piano sonatas. It is “little” in dimensions when compared to the two other sonatas in the same key of D major (K. 284 and especially K. 576). It is very seldom heard in concert and in piano lessons too is played less frequently. Admittedly it is not enveloped by the tragic gloom of the Sonata in A minor K. 310 nor does it have a wonderfully heartfelt slow movement like the Sonata in C major K. 309 these being the two works with which it was printed in Paris in 1778. K. 311 however is pianistically “worthwhile” in many regards: in the opening movement one can practice several standardtechnical challenges (hand-crossings effervescent runs parallel sixths tremolos at large intervals etc.). The slow movement (“Andante con espressione”) hones expressiveness something that does not always come naturally to many keyboardists (a compositional trick also makes a surprise appearance at bar 25). With its lively 6/8 meter the finale in turn recalls not only the veritable “Hunt Sonata” K. 576 but could almost have come from the solo part of a Mozartean piano concerto. All in all: a worthwhile challenge this sonata which sounds much harder than its technical demands require.

Piano Sonatas Volume III (Early and Unfinished Sonatas)-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826 and finally to the three masterworks written shortly before his death which place him on a level with Beethoven as a composer of sonatas. The intensity with which Schubert approached the genre of the piano sonata meant that he left a large number of piano sonatas incomplete. Volume III of the three-part Henle Urtext edition contains – next to the earlysonatas from the years 1815-1818 – the fragments completed by Paul Badura-Skoda whose completions are highlighted each time by small cue notes. The Critical Report in the Appendix also provides precise information about the genesis of the individual works.

String Quartet no. 1 in e minor-When Smetana completed his Quartet in e minor in dark and dismal colours in 1876 he had already been completely deaf for two years. Which musician is not familiar with the fateful passage in the fourth movement in which Smetana symbolizes the beginning of his illness with a violin note in an extremely high position? The previous movements tell of happier times in his life- an extensive extract from a letter about this is cited in the preface to our edition. Smetana who at the time received a ridiculously small fee from his publisher could not foresee that this work would later be considered one of the most famous string quartets of all time.

Revised edition of HN 1064 without fingerings-Bach’s Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection Bach himself called it an “Instruction” which teaches students and keyboard lovers to “treatcorrectly” both two and three voices to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. To this end Bach created timelessly beautiful music which has lost nothing of its relevance to usnearly 300 years after its creation. We are now presenting a new edition of this classic collection which draws upon all known sources and offers the best in “instruction” especially with respect to the transmitted embellishmentvariants. The new Bach – ideal for pianists of every age

The single editions of Schubert's three a-minor sonatas and the little A-major sonata are now joined by the c-minor sonata thereby completing Henle's series of the late piano sonatas in affordable offprints from the reference edition (Schubert Piano sonatas II HN 148).? A highly authoritative Urtext edition of Franz Schubert's Piano Sonata In C Minor D.958 as edited by Paul Mies and fingered by Hans-Martin Theopold.

Version for Double Bass and String Quartet-It is a bit of a paradox: one of Dragonetti’s showpiece “The Famous Solo” originally for double bass and orchestra is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its different versions. In this edition Tobias Glöckler presents Dragonetti’s autograph arrangement for double bass and string quartet for the first time. Once Dragonetti 's showpiece 'The Famous Solo' is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its differentversions. In this Henle Urtext edition Tobias Glöckler presents the composer's autograph arrangement for Double Bass and String Quartet for the first time.

15 well-known original pieces in progressive order of difficulty with practical comments-Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for a guided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for the piano. Naturally they are presented superbly in true Urtext.Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for aguided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for thepiano. Naturally they are presented superbly in true Urtext.

Piano Sonata in d minor K.9 L.413-“Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language. “Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord thesepieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of themost popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language.

Did Mozart intend this work to be a duo for two bass instruments or – as the simple basso-like manner of the second part suggests – a sonata for bassoon and keyboard instrument? We will probably never know the answer because the autograph has gone missing. Our edition allows different instrumentation- it not only contains scores for the duo version but also one so it can be performed as a solo bassoon sonata following the style of the time with a figured bass realization. And cellists – who are not blessed with many works by Mozart – will appreciate the version of this endearing work for cello and figured bass.?Authoritative Henle Urtext Edition of Mozart's Sonata In B Flat K.292 for Bassoon Cello and Continuo.

Trio in d minor op. 3- Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier inspired hit the Trio For Clarinet Op. 3 written in 1896 owes agreat deal to Zemlinsky ’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who following its first performance in Vienna enthusiastically recommendedthe trio to his publisher Simrock. As the autograph has disappeared Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous partly blatant engraver’serrors. Alongside the Piano score Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.

Which of his pupils did Haydn have in mind when he composed his humorous “Divertimento à due per il Clavicembalo solo”? It was written at a time when works for piano four-hands were still the exception – and instead of “Primo” and “Secondo” the oldest copies use the terms “La parte del Maestro” and “dello Scolare”. Haydn’s wit keeps surfacing- for instance in the idea that the teacher plays first then the pupil and in the last bars of the variation movement the hands of the players cross over without their being any musical necessity for this. Haydn’s sole work for piano four hands is now published in a revised edition based on the volume that has just appeared in the HaydnComplete Edition (HN 5501 and 5502). It is an excellent work for educational purposes but will also provide good sightreaders with a great deal of pleasure.? For Piano duet.

Villanelle for Horn and Piano-Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshing melodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn and piano: the later version with orchestralaccompaniment does not stem from the composer. Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshingmelodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn andpiano: the later version with orchestral accompaniment does not stem from the composer.

This rousing Polonaise which is preceded by a nocturne-like Andante was originally a work for piano and orchestra. It was written at the same time as Chopin’s two piano concertos in e minor and f minor and breathes the same fresh youthful spirit. Since the orchestral part is subordinate and fulfills only an accompanying function the Polonaise lends itself brilliantly to performance as a solo piano piece and indeed is almost always performed as such in today’s concert halls. In this spirit – and following the first editions – our Urtext edition is laid out not as a piano reduction (with two piano systems) but contains only the solo part at those few passages where thesolo piano rests the orchestral accompaniment is reproduced in small print. Henle Urtext Edition completed by Ewald Zimmermann.