Variations for Piano and Violin-No chamber-music genre was honored with so many works as Mozart’s duos for piano and violin. As well as the 16 sonatas they include two variation cycles which Mozart composed in 1781 thus in his first Viennese year and were most likely intended for his various pupils and students. The combination of duo/duet and variation was to make the two works especially well known. Both cycles especially the second one in g minor are finest Mozart. Henle Verlag Urtext edition of Mozart's Variations for Piano and Violin KV359 and KV360.

Sonata for Piano and Violoncello in F major op. 99-Brahms’ cello sonatas are probably amongst the most beautiful that has ever been written for this instrument. The publication of the two works in the new Brahms Complete Edition has prompted us to publish a new Urtext edition of the Sonata in F major. This classic work in our catalogue (to date HN 19) has now been newly engraved and reflects current scholarly findings. Johannes Behr has also provided extensive details regarding its genesis and the edition. Both the piano and cello parts have fingerings but there is also an unmarked part for the cello.

Haydn returned from his second trip to England in 1795 deeply impressed by the performances of Handel in Westminster Abbey with their large number of musicians. In his pocket he had an English libretto which was to form the basis of one of his most popular works. Baron van Swieten translated it so skillfully into German that the structure of the original text was preserved. This meant that Haydn was able to publish his work in two different languages in 1800 – with a view to musical life in England. And the impressive work on the creation of the world was indeed enthusiastically received there. The text in the two volume Haydn Complete Edition forms the basis for this (somewhat)easier to handle study edition.? This high quality hardback study edition follows the scholarly musical text in the Henle Haydn Complete Edition (published in 2007).

Bach’s E major Violin Concerto has survived solely in the form of a copy but in view of its significant compositional substance and of Bach’s arrangement (which has come down to us as an autograph) for harpsichord and orchestra the work’s authenticity is beyond question. The highly expressive violin melody in the second movement speaks for itself: the harpsichord version cannot provide a real replacement for it. The Concerto For Violin And Orchestra In E (BWV 1042) was written in three movements: Allegro – Adagio – Allegro Assai . Its history is somewhat vague as no autograph manuscript survives. Originallyscored for Violin Strings and Continuo it is presented here with a Piano reduction. Editorial suggestions for bowing and fingering have been provided together with a “clean” copy for the violinist’s own use. J. S.Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist and choirmaster but was also employedas a composer a many different Royal Courts.

revised edition hard cover- Johann Sebastian Bach 's Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection Bach himself called it anInstruction which teaches students and keyboard lovers to treat correctly both two and three voices to achieve a singing style in playing and to acquire a strong foretaste ofcomposition. To this end Bach created timelessly beautiful music which 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 whichdraws upon all known sources and offers the best in instruction especially with respect to the transmitted embellishment variants.

Haydn’s numerous divertimentos for strings and wind are cheerful functional music about whose genesis we know very little. Many stem from Haydn’s early years when the composer had to keep his head above water with musical odd jobs. Thus the Divertimento in G major Hob. II:9 for the unusual scoring of two oboes two horns two violins two violas and bass was quite possibly commissioned in the 1750s. In its exuberant vitality Haydn’s genius is already unmistakable here.

“Señor Albéniz may well inscribe upon his escutcheon the words ‘Veni vidi vici’.” The London press thus commented on the Spaniard’s triumphal tour of Britain between 1889 and 1893. It was in the British Isles of all places that Albéniz increasingly turned to subjects from his native country composing España (HN 857) amongst other things. Although it might seem surprising in this tribute to the Iberian peninsula Albéniz also included a tango that appears in the form of a Cuban habanera. Behind the multicultural charade is one of Albéniz’ most popular works full of warm longing for exotic climes. This easy-to-play piece is now available as a single edition. Señor Albéniz may well inscribe upon his escutcheon the words ‘Veni vidi vici’.” The London press thus commented on the Spaniard’s triumphal tour of Britain between 1889 and 1893. It was in the BritishIsles of all places that Albéniz increasingly turned to subjects from his native country composing España (HN 857) amongst other things. Although it might seem surprising in this tribute to the Iberianpeninsula Albéniz also included a tango that appears in the form of a Cuban habanera. Behind the multicultural charade is one of Albéniz’ most popular works full of warm longing for exoticclimes. This easy-to-play piece is now available as a single edition.

Immediately after finishing his second Violin Sonata op. 108 Fauré started work on a sonata for Cello and Piano in early 1917 thus realising a long-conceived plan. In their predisposition and attitude both works are very closely related. In the Cello sonata a sombre dramatic opening movement is also followed by a calm relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued but on account of increasing interest in Fauré ’s complete late chamber music this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas a master of his craft supplied the markings in the Cello part.

In a letter to Erwin Schulhoff Berg bitterly complained about his unsuccessful attempt to find a publisher for his “Pieces for Clarinet” “Once again at my own expense! A few antique pieces in my apartment had to pay for it …” The concise miniatures are outstanding examples of the “little pieces” genre to which Arnold Schoenberg and Anton von Webern also contributed. We warmly recommend these short but imaginative pieces in Henle Urtext to all those clarinettists who are willing to experiment. This edition is worldwide available.The Henle Urtext edition of Alban Berg's Four Pieces For Clarinet And Piano Op.5 edited by Ullrich Scheideler.

Piano reduction-The origin of this concert aria which is a core piece in the singer’s repertoire is swathed in mystery. We still do not know where Beethoven found the text for the aria. The text for the recitative was taken from Pietro Metastasio’s “Achille in Sciro” but there it was not followed by an aria. It is also not clear why Beethoven only published the piece nine years after writing it. The Critical Commentary at the end of this single edition from HN 970 gives detailed information on the source situation and all aspects of our edition of this dramatic masterpiece. Breitkopf & Härtel are publishing the performing material.?The origin of this concert aria which is a core piece in the singer’s repertoire is swathed in mystery. We still do not know where Beethoven found the text for the aria. The text for the recitative was taken from PietroMetastasio’s “Achille in Sciro” but there it was not followed by an aria. It is also not clear why Beethoven only published the piece nine years after writing it. The Critical Commentary at the end of this single edition from HN970 gives detailed information on the source situation and all aspects of our edition of this dramatic masterpiece. Breitkopf & Härtel are publishing the performing material.

After moving to Vienna in 1781 Mozart returned only once to his hometown of Salzburg and that was from the end of July to the end of October 1783 in the company of his young wife Constanze. Just as we know little for certain about the events of those months Mozart also seems to have composed equally little there. Just these two exquisite duos for violin and viola come from this period and even they were apparently written as a friendly favor for Salzburg composer Michael Haydn (younger brother of the great Joseph Haydn) who for reasons of acute ill health was unable to complete a commissioned composition. Henle’s Urtext edition is based on the carefully notated autographmanuscripts the first edition appeared only in 1792 shortly after Mozart’s death making its value as a source debatable. In addition to a complete score of this wonderfully intimate chamber music foldout instrumental parts are included facilitating comfortable performance.

for Harp Flute Clarinet and String Quartet-In June 1905 Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion thanks to 8 days of dogged work and three sleepless nights”. But the piece itself shows nothing of the haste in which it was written. In fact it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief but highly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle’s Urtext editions of Ravel’s chamber music.In June 1905 Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion thanks to 8 days ofdogged work and three sleepless nights”. But the piece itself shows nothing of the haste in which it was written. In fact it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief buthighly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle’s Urtext editions of Ravel’s chamber music.

When Chopin gave his Opus 23 the title “Ballade” in the mid 1830s he established the piano ballade as a new musical genre which was subsequently taken up by others including Brahms Liszt and Grieg. The idea of transforming a fictional dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: “I have a new Ballade by Chopin. It seems to me to be one of his most brilliant (not most inspired) works.” Our single edition has been taken from the recently revised edition of the “Ballades” (HN 862). Detailed information on the genesis of this work and an evaluation of the sources can be downloadedfree-of-charge.? When Chopin gave his Opus 23 the title “ Ballade ” in the mid 1830s he established the Piano ballade as a new musical genre which was subsequently taken up by others including Brahms Liszt and Grieg.The idea of transforming a fictional dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: “I have a new Ballade by Chopin .It seems to me to be one of his most brilliant (not most inspired) works.” Our single edition has been taken from the recently revised edition of the “Ballades” (HN 862). Detailed information on the genesis of this work and anevaluation of the sources can be downloaded free-of-charge.

Piano Reduction-The Rondo in B flat major was only published two years after Beethoven’s death in an arrangement by Carl Czerny. It has since been proven that it was originally the final movement of the Piano Concerto no. 2 op. 19 which Beethoven replaced in 1794/95 with the movement we know today. The fact that it closely resembled Mozart’s style might have contributed to this decision. At any rate Beethoven kept the manuscript of the rondo all his life showing its importance for him. Johannes Umbreit has prepared a new piano reduction that is easier to play and is based on the musical text in the Beethoven Complete Edition.The Rondo in B flat major was only published two years after Beethoven’s death in an arrangement by Carl Czerny. It has since been proven that it was originally the final movement of the Piano Concerto no. 2 op. 19 whichBeethoven replaced in 1794/95 with the movement we know today. The fact that it closely resembled Mozart’s style might have contributed to this decision. At any rate Beethoven kept the manuscript of the rondo all his life showingits importance for him. Johannes Umbreit has prepared a new piano reduction that is easier to play and is based on the musical text in the Beethoven Complete Edition.

revised edition-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 “treat correctly” 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 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 embellishmentvariants. The new Bach – ideal for pianists of every age! Johann Sebastian 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 “treat correctly” 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 timelesslybeautiful music which has lost nothing of its relevance to us nearly 300 years after its creation. This edition of the classic collection draws upon all known sources and offers the best in “instruction” especially withrespect to the transmitted embellishment variants. This volume is deal for pianists of every age.

Piano Sonata G major WO 14-Muzio Clementi was only just 16 years old when he wrote this sonata – and already a talented pianist. He had studied many of the great works written by his famous predecessors. This charming early work by Mozart’s contemporary shows the influence of many of these role models in particular of Domenico Scarlatti. And yet it is not very demanding. Our affordable single edition of this delightful sonata is very suited for teaching purposes.? An authoritative urtext edition of Clementi's Sonata In G WO 14 for solo Piano edited by Sonja Gerlach and Alan Tyson.

String Quartet F major op. 135-Beethoven’s op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. Theproblem lies in the surviving sources for Beethoven’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven’s death the German publisher of the first edition posthumously ironed out these discrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for op. 135. Beethoven’s contradictory formulations are laid bare allowing musicians to make their own decisions. Beethoven ’s Op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources for Beethoven ’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven ’s death the German publisher of the first edition posthumously ironed out thesediscrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135 . Beethoven ’s contradictoryformulations are laid bare allowing musicians to make their own decisions.

Horn Quintet in Eb major K. 407 (386c)-We not only owe three of Mozart’s horn concertos to his friendship with Ignaz Leutgeb- the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying string quartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the “Abduction from the Seraglio” allow us to suppose that it was composed around the same time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart’s intentions.? We not only owe three of Mozart's horn concertos to his friendship with Ignaz Leutgeb; the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying stringquartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the 'Abduction from the Seraglio' allow us to suppose that it was composed around thesame time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart's intentions.

“With humor ”slow and tender “extremely brisk”: the very expression marks of the op. 12 “Fantasy Pieces” illuminate their musical universe a kaleidoscope of ideas and moods. Our revised new edition presents not only the eight original pieces but also an appendix containing a ninth piece that Schumann excised during the final stages of publication. Several of the composer’s friends including the work’s dedicatee Robena Ann Laidlaw played some of op. 12 in public before it appeared in print. Later the work achieved rapid and widespread popularity. Perhaps the greatest compliment came from Franz Liszt who excitedly wrote to the composer “Your ‘Fantasy Pieces’ have captured myinterest in an extraordinary way. I play them truly with delight and Lord knows there are not many things of which I can say the same.” An authoritative urtext edition of Schumann's Fantasiestucke Op.12 for solo Piano edited by Ernst Herttrich.

Violin 2-Score and parts also available: HN963