In his collections of Impromptus and Moments musicaux Franz Schubert impressively showed at the end of his life how a lyrical songlike form can be rendered on the piano. In spite of their simplicity his popular Impromptus op. 90 for example prove themselves to be consummate works of art and number among the most beloved pieces of Romantic piano music. The third Impromptu of op. 90 an Andante in G-flat major is a mysterious reverie in pianissimo. A peaceful melody hovers over a murmuring accompaniment of eighth-note triplets while the harmonies change very gently. This Urtext edition provides the work as a separate edition in the original key. To make it easier to play other editions often transpose it into G major which however diminishes the distinctive colour of this piece. Henle Verlag Urtext edition of Schubert's Impromptu In G Flat Op.90 No.3 for Piano solo.

Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of the influence of Johann Christian Bach’s works. A score of this concerto has not survived- all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment- however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now be performed in itssurviving form – by a pianist without an orchestra. Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of theinfluence of Johann Christian Bach’s works. A score of this concerto has not survived; all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment;however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now beperformed in its surviving form – by a pianist without an orchestra.

The Urtext instrumental part of this edition is laid out as a combined flute and bass part (featuring the original basso continuo figures without realisation). This manner of reproduction is oriented on the historical sources. Thus it is possible for an experienced continuo player to improvise a free accompaniment of his own to the sonata. Two copies of this dual part are included in this Henle edition so that both players flautist and accompanist can perform from this combined musical text. In addition to the basso continuo figures the score offers a historically appropriate basso continuo realisation that can be played at sight. In order to avoid page turns within themovements the instrumental part is provided with a fold-out panel and a blank page.

Works for Piano Four-hands-With the exception of the version of the “Grand Fugue” for piano four hands (HN 954) this volume contains all of Beethoven’s works for this scoring to which he only rarely turned. It comprises the Sonata in D major op. 6 the “Three Marches” op. 45 the “Eight Variations on a theme of Count von Waldstein” WoO 67 and the “Six Variations on the Song Ich denke dein” WoO 74 – all of these works are very well-suited to piano teaching. The musical text was revised to follow the recently published Critical Report of the Beethoven Complete Edition and is now accompanied by new explanatory texts. The piano duo specialist Andreas Groethuysen has also provided fingerings for this work.Works by this publisher are not included in the main catalogue.

Piano Sonata in b minor-Following the revision of our facsimile of the Piano Sonata in b minor (HN 3227) in 2015 we are now proud to present the corresponding new Henle Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought everything confused.” Today we view this differently. Our new edition of this key piano workis further enhanced by the sophisticated fingerings supplied by the piano titan Marc-André Hamelin. Following the revision of Henle's facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 they are now proud to present the corresponding new Henle Urtext edition. With the helpof the splendid facsimile reproduction Henle were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a studentof Liszt's in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: It is only blind noise -not a single healthy thought everything confused. Today we view this differently. Henle's new edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-André Hamelin .

Initially only conceived as a birthday album for his daughter Marie Schumann’s “Pieces for Piano” op. 68 received tremendous acclaim throughout the world. Is there a piano student who has not played part of them? It is however a less well-known fact that Schumann also composed a “music historical course of instruction” for the piano in this connection. We have included this and other pieces originally intended for the “Album” in the appendix to our painstakingly revised edition. Rounded off by the inclusion of Ludwig Richter’s illustration for the title page of the first edition and the trilingual print of the “Advice to Young Musicians” our Urtext edition offers a vividpicture of middle-class musical culture in Schumann’s times.? A highly accurate Henle Verlag Urtext edition of Robert Schumann's Album Fur Die Jugend (Album for the Young) Op.68 as edited by Wolfgang Boetticher and fingered by Walther Lampe.

The Menuett the Deutscher Tanz the Kontretanz and the Ecossaise were extraordinarily popular social dances during Beethoven’s lifetime. Thus along with sonatas and variations Beethoven on numerous occasions composed easy-to-play dances and dance collections for solo piano which are brought together in their entirety for the first time in our volume. Beethoven did not give these occasional pieces an opus number so today they are numbered only as WoO (Werke ohne Opus or works without opus). A few dances are piano arrangements of orchestral dances since piano reductions for home music-making were indispensable at that time. As is to be expected from a substantial Urtextedition the preface and Critical Notes for this important collection deal with the complex source situation of the individual pieces along with the question of the authenticity of these piano arrangements. This accurate and authoritative Henle Urtext edition contains the complete Dances for Piano by Ludwig van Beethoven.

Sonata no. 1 in d minor op. 75 for Piano and Violin-Originally planned only as a little duo for violin and piano the composition grew into a sonata in autumn 1885. The first performances were more than disillusioning for Saint-Saëns as the violinists came to grief with its virtuosic demands in particular those of the finale. He told his publisher that it would be called “the hippogriffsonata” implying that the violin part could only be played by a mystical figure. Since then the sonata has by and large lost its horrors and is now one of the best loved chamber music works by the French master despite or perhaps even because of its technical challenges. Our Urtext edition is the first to take into account all survivingsources for the work. Violin Sonata No. 1 D Minor Op. 75 was originally planned only as a little duo for Violin and Piano the composition grew into a Sonata in autumn 1885. Saint-Saëns implied that the Violinpart could only be played by a mystical figure. Violin Sonata No. 1 D Minor Op. 75 has lost its horrors and is now one of the best loved chamber music works by the French master.

Combining these two Schumann bestsellers seemed very natural: both of the titles not only reflect their inner association but the technical demands on the pianist are for once not so great (see the levels of difficulty). And both works are collections of more-or-less short succinct pieces that ever since their publication (in 1839 and 1848) were to “profoundly influence middle-class musical culture in the second half of the 19th century. To this day they have lost hardly any of their appeal” (Ernst Herttrich in the preface).Scenes From Childhood Op.15 and Album For The Young Op.68

Just as in his “Trout” Quintet (D 667) “Wanderer” Fantasy (D 760) and string quartet “Death and the Maiden” (D 810) in the flute variations on “Trockne Blumen” (D 802) Franz Schubert employs one of his songs as the thematic basis of an instrumental composition. “Trockne Blumen” (Dried Flowers) is the eighteenth song from the cycle “Die schöne Müllerin” (D 795) composed in autumn 1823. In January 1824 before publication of all of the Müller songs that summer the Theme and Variations in E minor for flute and piano were written prefaced by a weighty introductory section. The work remains Schubert’s single and singular virtuoso composition for flautists: tremendouslydifficult for the flute to play and incidentally sometimes very tricky for the piano to “accompany.” Schubert’s much-reworked autograph manuscript is the sole authoritative source for our Urtext as it demonstrably served as the engraver’s copy for the posthumously published first edition. One of the variations he crossed out entirely – the Henle Urtext edition reproduces it more for informational purposes than for performance in the appendix. A highly authoritative Urtext edition of Franz Schubert's Variations On 'Trockne Blumen' D.802 Op. post.160 for Flute and Piano as edited with critical commentaries by Wolf-Dieter Seiffert and fingered by Klaus Schilde.

aus der Partita Nr. 2 d-moll BWV 1004-Who isn’t familiar with Johann Sebastian Bach’s Chaconne the final movement in his Partita in d minor for Violin solo? Time and again composers have been inspired to make this exceptional piece accessible for other instruments. Perhaps thebest-known arrangement is by Ferruccio Busoni. Without distancing himself too greatly from Bach’s original he endeavours to transpose the virtuosity of the string writing onto the piano. Thus Busoni wrote for the piano in a way that congeniallymakes the most of the capabilities of the modern piano. Our Urtext edition not only takes into account the traditional sources but also meticulously analyses a piano roll in great depth on which Busoni himself can be heard. The fingerings wereprovided by none other than Marc-André Hamelin. J. S. Bach 's Chaconne From Partita No.2 D Minor arranged by Ferruccio Busoni for solo Violin. The final movement in Bach 's Partita the Chaconne in DMinor has inspired many highly-regarded composers over the years and there are several whom have sought to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni . Without distancing himself too greatly from Bach ’s original he endeavors to transpose the virtuosity of the String writing onto the Piano. Thus Busoni wrote for the Piano in a way thatcongenially makes the most of the capabilities of the modern Piano. This Henle Urtext edition not only takes into account the traditional sources but also meticulously analyses a Piano roll in great depth on which Busoni himself can be heard. The fingerings are provided by none other than Marc-André Hamelin.

In early 1878 Peter Tchaikovsky had just sent his opera “Eugene Onegin” and his Fourth Symphony on their way but had no intention of taking a creative break. On the contrary he immediately took up his pen and composed his Twelve Pieces op. 40 for piano. This cycle features various genres including piano pieces typical of the epoch such as etudes waltzes and mazurkas but they are also joined by pieces presumably connected with Tchaikovsky’s biography. These bear titles like “Au village” “Marche funèbre” and “Rêverie interrompe”. For this Urtext edition it was possible to consult the autograph engraver’s copy in the Glinka Museum in Moscow as well as rare Russianprints from 1879 and 1890 as described in detail in the preface.

String Quartet no. 2 op. 15-Alexander Zemlinsky’s music was long unjustly overshadowed by what was regarded as the more progressive” Second Viennese School. Although Zemlinsky was close friends with its protagonist Arnold Schönberg he never did take the latter’s radical step into dodecaphony. At the same time he composed works that were no less original or fully fledged. Composed between 1913 and 1915 his Second String Quartet in particular pushed the contemporaneous understanding of form and tonality to its limits. With just one movement but spanning over 1 200 measures this multi-faceted work numbers among the most significant contributions to the genre of the time and has long merited acritical new edition. The Urtext edition by G. Henle Publishers corrects many errors and inaccuracies in the first edition that came to light after careful comparison with the autograph sources in Vienna and Washington. For the first time too the metronome markings that survive only in one of Zemlinsky’s letters have been incorporated. Editorial work was kindly supported by the Alexander Zemlinsky Endowment Fund in Vienna.

At long last singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber Henle now offers altos carefully arranged transpositions for medium voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume III offers the crowning achievement of Haydn’s sonata-writing with these late works including famous works such as the stormy Sonata in e minor Hob. XVI:34 and the grand” Sonata in E-flat major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity which is why these sonatas remain firmly anchored in concert life to this day.

With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms’ early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich. With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms’ early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich.

After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773 K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozart’s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II – in full score and individual parts. Included are the “Early Viennese Quartets” from 1773 K. 168–173. Entries in the autograph manuscript by the composer’s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms’ early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich. With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms’ early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich.

Music To Egmont And Other Incidental Music

Variations For Piano Clothbound