Op 102-Although Schumann had learnt the cello for a while in his youth he only began to compose for this instrument in later life. Apart from the cello concerto only his Five Pieces op. 102 have survived as original works for the cello. Clara was delighted with them: “These are pieces in folk style with such a freshness and originality that I was enchanted”. The “Neue Zeitschrift für Musik” wrote: “These pieces are less apt for a virtuoso player than a well versed one who can speak on his instrument with tone and meaning.” Our edition in the best Urtext quality is particularly to be recommended for teaching purposes and for making music at home.Although Schumann had learnt the cello for a while in his youth he only began to compose for this instrument in later life. Apart from the cello concerto only his Five Pieces op. 102 have survived as original works for thecello. Clara was delighted with them: 'These are pieces in folk style with such a freshness and originality that I was enchanted'. The 'Neue Zeitschrift für Musik' wrote: 'These pieces are less apt for a virtuoso player than awell versed one who can speak on his instrument with tone and meaning.' This edition in the best Urtext quality is particularly to be recommended for teaching purposes and for making music at home.

Version for Piano four-Hands- Grieg ’s incidental music for Henrik Ibsen’s drama “ Peer Gynt ” contains some of his best-known compositions such as “ Morning Mood ” and “ In the hall of the Mountain King ”. Grieg later extracted the most beautiful pieces to form two Orchestral suites and arranged himself these versions for Piano solo and Piano four-hands. There was a surprise in store for Henle when they werepreparing this Urtext edition. In the autograph and the first print run the second suite contained another movement the “ Dance of the Mountain King’s Daughter ” which Grieg deleted shortly afterwards. Thischarming dance appears in the appendix to this edition – printed again for the first time in 120 years! The Norwegian pianist and Grieg expert Einar Steen-Nøkleberg was co-editor for this edition and alsoprovided the new fingerings.

12 Variations on Ah vous dirai-je Maman K. 265 (300e)-Only very few piano works have become as popular as this theme with twelve variations. It already caught on soon after Mozart’s death as witnessed by the numerous handwritten copies and prints. Although nothing is known with any certainty regarding its genesis we can now conclusively date “Ah vous dirai-je Maman” to 1781. At that time Mozart wanted to make his way as a prominent piano teacher in Vienna. His variations still prove to be excellent teaching material. Our edition has been completely revised and also offers an extremely informative preface by the Mozart specialist Ulrich Konrad. A facsimile of Mozart’s manuscript is also published by Henle (HN 3213).?W.A. Mozart's 12 Variations On 'Ah Vous Dirai-je Maman' K.265 as edited by Ewald Zimmermann and fingered by Walther Lampe with preface by Ulrich Konrad.

Revised edition of HN 119-In 1879 about ten years before Johannes Brahms composed his late melancholic piano pieces he wrote the two Rhapsodies op. 79 – two markedly passionate and comparatively extensive works. In a letter to the convalescent Clara Schumann Brahms spokein a typically understated fashion about the two pieces “with which you can really run riot and test whether the course of treatment has actually had any effect”. We prefer to agree with Brahms’ friend Elisabeth von Herzogenberg: “the fact that the gminor is my favourite does not make me insensitive towards the intensely prickly beauty of the one in b minor”. Both of these popular works have now been revised on the basis of the new Brahms Complete Edition.In 1879 about ten years before Johannes Brahms composed his late melancholic piano pieces he wrote the two Rhapsodies op. 79 – two markedly passionate and comparatively extensive works. In a letter to the convalescent ClaraSchumann Brahms spoke in a typically understated fashion about the two pieces “with which you can really run riot and test whether the course of treatment has actually had any effect”. We prefer to agree with Brahms’ friendElisabeth von Herzogenberg: “the fact that the g minor is my favourite does not make me insensitive towards the intensely prickly beauty of the one in b minor”. Both of these popular works have now been revised on the basis of thenew Brahms Complete Edition.

“Even for me it is a strange and wonderful fact that almost every motif which forms within me bears the characteristics for multiple contrapuntal combinations” Schumann wrote to Mendelssohn. 1845 was the year in which Schumann discovered his passion for composing fugues – a passion which he shared with his wife Clara. In joint creative sessions Schumann composed his works for the pedal piano and his four piano fugues op. 72 which he wanted to be seen as “Character pieces but with a stricter form” while Clara wrote her “Six Preludes and Fugues”. Even true connoisseurs of Schumann will discover new sides to this accomplished composer in these works.? Schumann Four Fugues Op.72 Pf Urtext

Complete Edition-There is no other chamber-music genre for which Mozart produced so many works – see the sonatas and variations – than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments thus creating music of pure timeless beauty bound with dramatic power elegance and emotional depth.

Ausgabe für Viola-Good intentions are simply not good enough (to freely paraphrase Kurt Tucholsky): the arpeggione a kind of hybrid instrument like a large bowed guitar never won acceptance among musicians. This curiosity of instrumental engineering would certainly have long since been consigned to oblivion had not Franz Schubert of all people composed his A minor sonata for it. This three-movement work is now truly immortal but at the same time presents a problem as an Urtext because the original arpeggione part cannot be performed on those instruments that most closely approximate its sound – clearly the viola or violoncello – without some interventions in the text. G. HenleVerlag solves the dilemma on the one hand by setting the arpeggione Urtext part above the original piano part (score) and on the other by clearly denoting the few necessary octave shifts in the included instrumental parts. Out of the question for the publisher was a transcription for another instrument such as the violin (as was included in Diabelli’s posthumous first edition) flute or other high melodic instrument because these are simply too far removed from the sound Schubert had in mind. At best a contrabass part might still work. Or …? An authoritative urtext edition of Schubert's Sonata In A Minor D 821 for the Arpeggione - also known as the Guitar-Violincello or 'Guitar D'Amour'. This version has been transcribed for Viola and Piano edited byWolf-Dieter Seiffert.

The Well-Tempered Clavier Part II-The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions without fingeringsand as study editions.? The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects ofperformance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). The eminent Bach scholar Tomitadiscusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition.

Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit based very closely on Paganini’s original and following their educational intention. Opus 10 on the other hand deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution which heplaced at the beginning of his Opus 3.? Robert Schumann was fascinated by the Violin virtuoso Nicolò Paganini as were many composers of the time. When he was planning a Piano tutor in 1832/33 that was to include his own works as well as those byothers Schumann took a close look at Paganini's virtuosic Caprices for Violin. Schumann 's own Caprices Op. 3 were composed in this spirit based very closely on Paganini's original andfollowing their educational intention. Opus 10 on the other hand deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the PaganiniStudies is supplemented by the composer's extensive explanation on their execution which he placed at the beginning of his Opus 3 .

3 Notturnos-These Drei Notturnos appeared in 1850 in two different versions: the first for high voice and piano and the second for piano solo. In the latter version the music is preceded by the song texts (no. I Hohe Liebe no. II Seliger Tod: with texts by Ludwig Uhland no. III O lieb so lang Du lieben kannst: text by Ferdinand Freiligrath). The third Liebestraum – in the best tradition of nocturnes – is one of the most frequently played piano pieces of all. This is not least because it can be played by very skilled amateurs despite its pianistic bravura (our level of difficulty is 6/7).Henle Urtext Edition of Franz Liszt's Liebesträume Three Notturnos for Piano solo edited by Ernst-Gunter Heinemann.

Oboe Quartet F major K. 370 (368b)-This is Mozart’s only piece of chamber music for the oboe – and no oboist would want to be without it! Like the Clarinet Quintet the Oboe Quartet of 1781 was written for a friend: Friedrich Ramm a member of the celebrated court orchestra in Mannheim. Since then it has become the most significant and best-known work in its genre. The playfully virtuoso outside movements frame a brief slow movement in the minor mode that brings out the instrument’s elegiac timbre. Unlike the Oboe Concerto this work has come down to us in Mozart’s autograph score which has served as the principal source of our edition.?Henle Urtext Study Score Edition of Mozart's Oboe Quartet in F Major K. 370 edited by Ernst Herttrich.

The Rákóczi march is often referred to as the “Hungarian Marseillaise”. The beginnings of this march song go back to around 1730. In the text the Hungarians summon Franz II Rákóczi to free his people from the Habsburg oppression. The melody has been arranged many times e. g. by Brahms and Berlioz even Liszt made several arrangements of varying degrees of difficulty. He eventually did a “concert arrangement” of the theme in his highly virtuosic Hungarian Rhapsody no. 15. Our Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.?The Rákóczi March is often referred to as the 'Hungarian Marseillaise'. The beginnings of this march song go back to around 1730. In the text the Hungarians summon Franz II Rákóczi to free his people from the Habsburgoppression. The melody has been arranged many times e. g. by Brahms and Berlioz even Liszt made several arrangements of varying degrees of difficulty. He eventually did a 'concert arrangement' of the theme in his highlyvirtuosic Hungarian Rhapsody No.15 . This Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.

Revised edition of HN 360-Bach’s three-part Sinfonias acquaint pianists of every age with the art of playing three equal parts with just two hands – a true phenomenon! It is no accident that these pieces together with the two-part Inventions are considered indispensable to every pianist. This beautiful music has lost nothing of its relevance to us nearly 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 embellishment variants. The new Bach – ideal for pianists of every age! Johann Sebastian Bach ’s three-part Sinfonias acquaint pianists of every age with the art of playing three equal parts with just two hands – a true phenomenon. It is no accident that these pieces together with the two-part Inventions are considered indispensable to every pianist. This beautiful music has lost nothing of its relevance to us nearly 300 years after its creation. Henle are now presenting a 2015edition of this classic collection which draws upon all known sources and offers the best in instruction especially with respect to the transmitted embellishment variants. This volume is ideal for pianists of every age.

Il ritorno di Tobia-All music lovers are familiar with Haydn’s great late oratorios – but who also knows the first one that he wrote about 25 years earlier? Although the Biblical story of young Tobias who is able to cure his blind father with heavenly help is in the tradition of the Neapolitan oratorio it already displays signs of Haydn’s personal style and is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This long neglected work is now performed more frequently and our study edition takes this new popularity into account.?Written 25 years prior to Haydn's late great oratorios his first oratorio telling the Biblical story of young Tobias who is able to cure his blind father with heavenly help is in the tradition of the Neapolitan oratorio andalready displays signs of Haydn's personal style; it is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This work waslong-neglected but this Urtext Study Edition reflects its renewed popularity.

Klavierauszug-In his autograph of this concerto Vivaldi writes “Flautino” – which does not make it quite clear whether the work is to be played on the f-soprano (sopranino) recorder or on the piccolo transverse flute. Since the latter is obligatory for auditions with orchestra one often encounters the lively and musically invigorating concerto in the piccolo version.

Edition without fingering-In contrast to the large collections of partitas along with the French and English Suites Bach’s Fantasies and his Preludes and Fugues besides the Well-Tempered Clavier have not come down to us as interconnected cycles. Perhaps this is one of the reasons why only few of these works gained widespread popularity. Only the much-acclaimed Chromatic Fantasy and Fugue BWV 903/903a and the great c-minor Fantasy BWV 919 have found a permanent place in pianists’ concert repertoires. Some of the works compiled in this volume are undoubtedly juvenilia that do not yet hint at the mature Bach whilst nevertheless pointing out the composer’s fresh power of invention.

More than a few experts and aficionados count Mozart’s string trio in E-flat major K. 563 among his most magnificent compositions. This masterwork entered into Mozart’s own catalogue of works on 27 September 1788 as a “Divertimento ” presents the Urtext editor with great challenges. The autograph manuscript has been lost since that time and no other first-rate source texts exist. The most reliable albeit clearly imprecise source is the first edition published two months after Mozart’s death. Many twentieth-century editions however unfortunately reprinted the musical text of Breitkopf & Härtel’s so-called “Alte Gesamtausgabe” (Old Collected Edition) which wasedited by none other than the violinist Joseph Joachim on the basis of incorrect copies and is therefore completely corrupt. Even the “Neue Mozart-Ausgabe” (New Mozart Edition) is not error-free. The Henle edition essentially follows the first edition though aided by numerous corrective interventions described in the Critical Commentary. The edition’s Appendix presents the surviving fragment of the string trio movement in G major K. Anh. 66 (562e). How unfortunate that Mozart never completed this equally wonderful music which continues a little beyond the exposition and thus may quite aptly serve as a short encore. The three individual parts offer optimal flow for reading and playing thanks to the artful apportioning of notes in their layout including for instance various foldout tables and individual pages left blank. The study edition (HN 9625) available separately provides the full score to this edition of the parts.

Sonata for Flute Viola and Harp-The middle work in the three late chamber music sonatas was composed in spring 1915 directly after the cello sonata (HN 633). The innovative combination of sounds – a wind instrument a stringed instrument and a plucked instrument – greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it saying: “It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the same time?” On another occasion he emphasised the similarities with his own compositional style of the 1890s remarking of the sonata: “It reminds me of a very old Claude Debussy – the one of the Nocturnes”. The middle work in the three late chamber music sonatas was composed in spring 1915 directly after the Cello sonata (HN 633). The innovative combination of sounds – a Wind instrument a Stringed instrument and a Pluckedinstrument – greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it saying: “It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the sametime?” On another occasion he emphasised the similarities with his own compositional style of the 1890s remarking of the sonata: “It reminds me of a very old Claude Debussy – the one of the Nocturnes”.

Edition without Fingering-When Günter Henle founded his Urtext publishing company in 1948 he began his catalogue with a two-volume edition (HN 1 and HN 2) of Mozart’s 18 piano sonatas. These sonatas remain part of the core repertory of every pianist. In the intervening decades both volumes have been revised several times in order to keep pace with the current state of research. The latest update concerning K. 331 the “Alla turca” sonata from volume 2 dates from 2015. The editor’s preface and critical report provide detailed information on all the sources and textual issues. HN 1 and HN 2 include fingerings; both volumes are now presented without fingerings for pianists who want to find their ownway into Mozart’s piano universe. Published in a two-volume edition (HN1 and HN2) Wolfgang Amadeus Mozart 's 18 Piano Sonatas were the very first pieces in the Henle catalogue. These popular sonatas remain part of the core repertory of everypianist. In the intervening decades since the release of the original Urtext edition both volumes have been revised several times in order to keep pace with the current state of research. The latest update concerning K.331 the Alla turca sonata from volume 2 dates from 2015. The editor's preface and critical report provide detailed information on all the sources and textual issues. HN1 and HN2 include fingerings; here Henlepresents both volumes without fingerings for pianists who want to find their own way into Mozart's Piano universe.

Urtextausgabe-Nicolò Paganini’s milestone in violin literature is now not only available in a practical Urtext edition (HN 450) but also as a study score. Published in 1820 as his Opus 1 Paganini gave the violin world a timeless masterpiece which no up-and-coming violin virtuoso can ignore. As well as the musical text our edition also contains a must for all interested performers: a detailed commentary by the Paganini expert Renato de Barbieri. With numerous examples and illustrations for each of the 24 Capricci from the autograph he knowledgeably explains the characteristics of Paganini’s notation and its significance for its interpretation today.Nicolò Paganini’s milestone in violin literature is now not only available in a practical Urtext edition (HN450) but also as a study score. Published in 1820 as his Opus 1 Paganini gave the violin world a timeless masterpiece which no up-and-coming violin virtuoso can ignore. As well as the musical text our edition also contains a must for all interested performers: a detailed commentary by the Paganini expert Renato de Barbieri. With numerousexamples and illustrations for each of the 24 Capricci from the autograph he knowledgeably explains the characteristics of Paganini’s notation and its significance for its interpretation today.