Composed in Vienna in 1838 along with several other shorter pieces Schumann’s Arabesque has found a permanent place in the general piano repertoire. It may owe its lightness and grace to Schumann’s urge to rise up and become the favorite composer of all the ladies of Vienna. As a result the Arabesque is a prime example of entertainment music in the best sense of the word. The musical text of this new edition has been thoroughly revised and provided with an informative preface and editorial notes.Schumann’s Arabesque in C Op.18 is a delightful and sincere work and though often a favourite of the virtuosi is much loved among amateur pianists. This piece is full of character unfolding with a light and skippingtheme which later develops to evoke a pastoral and nostalgic tone. Available here is a highly authoritative Urtext edition of the score which presents and accurate realisation of the composer’s original intentions asedited with critical commentaries by Enrst Herttrich and finger by Walther Lampe.

Now for the first time Henle publishes an urtext edition of this famous violin concerto (it is also the first German edition). The detailed preface provides exhaustive information on the work's genesis and sources. Ernst Schliephake has sought the advice of Ruggiero Ricci for the fingering and bowing marks and Johannes Umbreit has revised the composer's estimable piano reduction to make it more playable and to meet the main requirement of an urtext edition: maximum fidelity to the original orchestral score.?An authoritative urtext edition of Saint-Saens' Violin Concerto No.3 Op.61 for Violin with Piano reduction. Edited by Peter Jost.

In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “Slavonic Dances” led to his international breakthrough. “Furiant” “polka” “soudeská”: all are written with consummate mastery and dazzling formal sophistication. Although the “Slavonic Dances” also became popular in orchestral arrangement they were originally written for piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honor the centennial of his death we are presenting his original version with a detailed commentary on the work’s sources and editorial problems.The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon to performers everywhere.? In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “ Slavonic Dances ” led to hisinternational breakthrough. “ Furiant ” “ polka ” “ soudeská ”: all are written with consummate mastery and dazzling formal sophistication. Although the “ Slavonic Dances ” also became popularin orchestral arrangement they were originally written for Piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honour the centennial of his death we are presenting hisoriginal version with a detailed commentary on the work’s sources and editorial problems. The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon toperformers everywhere.

Sonatas op.120 for Clarinet and Piano-In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl adding “It would be really wonderful if you brought your B flat clarinet with you and if you were in no great hurry” – for thetwo Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: “The sonatas [...] are wonderful and will cause a great sensation”. This edition of thiswork today part of the clarinettist’s core repertoire continues the revision of Brahms’s Duo Sonatas following the text in the new Brahms Complete Edition. In 1894 Johannes Brahms asked the clarinettist Richard Muhlfeld to visit him during his beloved summer sojourn in Ischl adding It would be really wonderful if you brought your B flat Clarinet with you andif you were in no great hurry - for the two Sonatas Op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: Thesonatas [...] are wonderful and will cause a great sensation. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the Clarinet repertoire.

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!'

Robert Schumann once said that “when a German speaks of symphonies he is speaking of Beethoven”. With his nine symphonies Beethoven set a standard against which all subsequent composers measured themselves. Yet Beethoven initially oriented himself on the great masters Haydn and Mozart. Thus his Second Symphony in D major op. 36 of 1800–02 stands between the tradition of these masters and his own later innovations. For study purposes G. Henle here presents the Second Symphony in a small format score. It follows the musical text of the Beethoven Complete Edition. The specialist press wrote: “Quite apart from the critical merits of this edition ... it is a pleasure to readthese study scores owing to the brilliant typography and the generous yet clearly laid-out format”. Study Score

Ausführlicher Kritischer Bericht (nicht in der Druckausgabe enthalten) zum kostenlozen Download- A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata In A Major (with the enduring “Turkish March”) surfaced inBudapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (thenew autograph does not contain the complete sonata). It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study thissonata without consulting our Urtext edition.

Revised edition of HN 1169 without fingerings-All piano students are familiar with Bach’s two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to expressusing only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts to “achieve a singing style in playing” and to“acquire a strong foretaste of composition”. We are now presenting a new edition of this

Chromatic Fantasy and Fugue d minor BWV 903 and 903a-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. Bach Chrm Fntsy Fg Bwv903 Pf W/O Fng

In Schumann’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for piano they remained unpublished at first. It was only after the resounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced by this. Some of the altogether 34 pieces were finally published under the title “Coloured Leaves” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version of this edition to reflect the latest inscholarly research. In Schumann ’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for Piano they remained unpublished at first. It was only after theresounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced bythis. Some of the altogether 34 pieces were finally published under the title “ Coloured Leaves ” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version ofthis edition to reflect the latest in scholarly research.

Combining a piano concerto and a cantata in one work is an undertaking that requires true mastery. Ludwig van Beethoven succeeded in this with his “Fantasy for piano chorus and orchestra” in C minor op. 80 composed in 1808. Since the melody of the “Ode to Joy” from the finale of his Ninth Symphony can be heard here “in ovo” the Choral Fantasy is also referred to as the “Little Ninth”. This score edition of the work is supplemented in our handy study edition by the concert overture “Meeresstille und glückliche Fahrt” (“Calm Sea and Prosperous Voyage”) op. 112 and other short orchestral works (opp. 118 121b 122 WoO 95). This edition in the quality one expects of an Urtext offers the full musical text of the Beethoven Complete Edition. Also includes Op. 112 118 121b 122 WoO 95.

Felix Mendelssohn Bartholdy 's Piano Trio Op. 49 . Additional Flute part.

String Quartet-Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicians who were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as “1er Quatuor”- showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicianswho were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as“1er Quatuor”; showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.

No other great composer left so many works for piano duet as Franz Schubert: altogether 54 (32 of which have an opus number) including fantasias dances marches variations rondos sonatas etc. Among Schubert’s circle of friends making music was a much beloved pastime. And even today musicians love to work with these pieces. In the three Henle Urtext volumes featuring Schubert’s four-hand piano music the works are arranged chronologically. Volume II contains a total of altogether 26 pieces 19 of which are comprised of four opera with three four and six individual pieces: Trois marches militaires four Ländler as well as Grandes Marches et Triosand Polonaises respectively. They date from the years 1818 to 1826. The unchallenged favorite in this book is the C major Sonata D 812 of the year 1824 also called Grand Duo. However without wanting to diminish the status of the other pieces we should point out that all seven marches are splendid compositions. The second volume of this Urtext edition of Franz Schubert's Works For Piano Four-Hands as edited by Willi Kahl.

At the end of the 18th century the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ’s hour of death- its focal point was the reading and interpretation of Christ’s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part only a few changes had to be made to the string parts. We present the arrangement for string quartet based on the musical text of the Haydn Complete Edition (in preparation).?At the end of the 18th century the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ’s hour of death; its focal point was the reading and interpretation of Christ’s last words. Haydn wascommissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success the publisher commissioned Haydn to make an arrangement for string quartet. As thewind instruments double the strings for the most part only a few changes had to be made to the string parts. Here is the Henle Urtext Study Score of Joseph Haydn's The Seven Last Words of Christ arranged for StringQuartet based upon on the musical text of the Haydn Complete Edition. Also available as part of a 12 part set including all Haydn's works for String Quartet Cat. No. HN9216

When Isaac Albéniz ’s work Sevilla was performed in Madrid in 1886 it not only brought the composer public recognition but also a commission to compose an eight-movement Suite espagnole for Piano (HN783). Although it took him a further 15 years to complete the latter Sevilla was already published in a single edition in 1886. Most people are probably not familiar with the original version of thisspirited miniature about the Spanish city and its native flamenco. This is because Albéniz captured the musical character so effectively that Guitar players immediately claimed the piece for themselves. ThisHenle Urtext edition gives pianists the chance to reclaim flamenco for the Piano.

Romances for Horn and Piano-Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier- Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words” that fully savour the typical romantic sound of the horn. Alongside the orchestral version Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advanced students. Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 waswritten for Henri Garigue. Despite the illustrious recipients they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words” that fully savour the typical romantic sound of the horn. Alongside the orchestral version Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advancedstudents.

Grieg’s Third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’s renown is its occurrence in Thomas Mann’s novel Doktor Faustus. The sonata has been growing more popular ever since its first publication and it is now high time for it to appear in an urtext edition from Henle. A preface and detailed editorial notes provide interesting background material on the work’s source tradition.? Grieg ’s third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’srenown is its occurrence in Thomas Mann’s novel 'Doktor Faustus'. The sonata has been growing more popular ever since its first publication and it is now high time for it to appear in an urtext edition from Henle. A preface anddetailed editorial notes provide interesting background material on the work’s source tradition.

It is hard to believe that all of the five works included in this edition were previously unknown to musicians. So there are in fact unknown works by Beethoven for singers to discover! The five short vocal works for several voices are ideally meant to be sung by soloists accompanied by piano obbligato. There are three Serenades (Nos. 1–3) and two original arrangements of extremely well-known choral compositions namely the “Bundeslied” op. 122 and the “Opferlied” op. 121b.

Bach had a predilection for creating solo works for instruments that were more usually supplied with a keyboard accompaniment. It is thus only logical that as well as the violin and cello he also thought of making use of the typical melodic character of the flute in this way. Through the skillful use of broken chords he even succeeds in creating the illusion of polyphony. It soon becomes clear that Bach’s lyrical cantilenas are convincing even without the support of accompanying chords on a keyboard instrument. A high point in flute literature!