When it comes to flute music of the Baroque era the works of Bach and Handel are unsurpassed in musical stature as well as in recognition and popularity and thus it is easy to overlook the fact that many other composers of that same period also wrote attractive music for the instrument. As an example consider the introductory slow movement of Johann Christian Schickhard’s Sonata in a minor where over a descending chaconne bass the flute interweaves a rich variety of melodic phrases. This is just one of the musical surprises to be discovered in this multifaceted volume.

As a pedagogue and composer Johann Sebastian Bach’s second eldest son Carl Philipp Emanuel was preeminent in the field of keyboard music during the transitional period between the baroque and classical eras. From his over 150 keyboard sonatas we have assembled a three-volume chronological selection that focuses on attractiveness and variety. Moreover it makes available many previously unpublished sonatas. After all sixty of Carl Philipp Emanuel Bach’s keyboard sonatas remained unprinted during his lifetime. This second volume contains twelve sonatas from the period between 1749 and 1758. The available sources for our Urtext edition have been autographs first prints thatappeared during Bach’s lifetime and manuscript copies from Bach’s circle. Darrell M. Berg’s preface provides important performance suggestions concerning the prescribed ornaments. With Berg’s table of the most important embellishments and their correct rendition the player is optimally equipped to study Bach’s keyboard sonatas. A highly authoritative Urtext edition of Carl Philipp Emanuel Bach's Piano Sonata's as edited by Darrell M. Berg and Klaus Borner. Available here is the second volume of Piano sonatas.

Niels W. Gade who occasionally substituted for Felix Mendelssohn as conductor of the Gewandhaus Concerts in Leipzig is today considered the most important Danish composer. In his “Spring Flowers” op. 2b “Aquarelles” op. 19 and “New Aquarelles” op. 57 he created supple pleasing piano pieces in an intimate style suitable for domestic music-making. Nevertheless these character pieces are of moderate difficulty. They fascinate with their powerful originality deeply sensitive expressive power and pianistic ingenuity. For pianists who want to look beyond the established romantic piano music repertoire engaging with this edition will prove worthwhile. The informativepreface has been written by Danish pianist Bengt Johnsson who has recorded Gade’s complete piano works.

Songs without words-When Mendelssohn learned from his publisher Nikolaus Simrock that he was to receive an additional honorarium for a part of his “Lieder ohne Worte” he effusively thanked him for this gift. However the gift that Mendelssohn in his turn made to posterity with these Songs Without Words could probably not have been foreseen even by him at the time. These “Original Melodies” “Romanzen” or “Clavierstücke” which only later gained the title “Lieder ohne Worte” enjoyed great success during the composer’s lifetime and should be included amongst the most rewarding pieces of 19th-century piano literature. Our volume contains the complete “Lieder ohne Worte” published during hislifetime and posthumously.

Joseph Haydn’s concertos for violoncello and orchestra stand out for their lightness and elegance. The Concerto in C major Hob. VIIb:1 was most likely written between 1762 and 1765 when Haydn was already in service as Kapellmeister or music director to Prince Esterházy. The concerto was for a long time known only through an entry by Haydn in his handwritten catalogue of works and the music itself was unknown. It was not until 1961 that a copy of the work was found and since then it has successfully held its own against the Concerto in D major Hob. VII:2. The services of Haydn specialist Sonja Gerlach have been obtained for this edition of the concerto with pianoaccompaniment. She enriches the Urtext edition with a detailed preface that also examines focuses on the execution of the ornaments and the cadenzas. Haydn ’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterhàzy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterhàzy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles. The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn ’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue). The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages. This Piano reduction is based on the text givenin the complete edition of Haydn ’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.

Around 1900 Debussy composed 12 short pieces for two flutes two harps and celesta as incidental music for the Chansons de Bilitis (recitation of ancient Greek poems by the courtesan Bilitis) by Pierre Louÿs. Although it was performed the work was not published during Debussy’s lifetime. The composer highly valued the work and returned to it in 1914 choosing six of the old pieces and reworking them into an important new cycle for piano four hands (HN 408). At the same time he also completed a version for piano solo (HN 402). Debussy succeeded to transform the delicate incidental music into a colourful sonorous piano setting in both versions. Around 1900 Debussy composed 12 short pieces for two Flutes two Harps and Celesta as incidental music for the Chansons de Bilitis (recitation of ancient Greek poems by the courtesan Bilitis) by Pierre Louÿs. Althoughit was performed the work was not published during Debussy ’s lifetime. The composer highly valued the work and returned to it in 1914 choosing six of the old pieces and reworking them into an important new cycle forPiano four hands (HN 408). At the same time he also completed a version for Piano solo (HN 402). Debussy succeeded to transform the delicate incidental music into a colourful sonorous Piano setting in both versions.

Called “Kurfürstensonaten” (Prince-Elector sonatas) these three sonatas were published in fall 1783. In the dedication – which was most certainly not formulated by Beethoven – one reads: “Most lofty sir ... I have now reached my eleventh year” (whereby the composer has been made two years younger) “and since then my Muse has whispered to me often during the hours of devotion: Be bold and lay down the harmonies of your soul!” ... May I now exalted Prince dare to lay the first of my juvenile outpourings at the steps of your throne?” In fact the three sonatas have a special place among Beethoven’s earliest compositions already exude his spirit and can be used to acquaintthe budding pianist with this composer.

Complete Piano Sonatas Volume II-Among Joseph Haydn’s extensive oeuvre is an almost inexhaustible stock of piano sonatas. With altogether over 50 works they form a significant segment of his overall output. One of this composer’s great achievements is that in these sonatas – as in many other genres such as the symphonies and string quartets – Haydn bridges discrepant stylistic eras and lays the founding stone for the classical piano sonata. Volume II comprises three groups of six sonatas which made Haydn accessible to the broad public in prints or professionally produced copies. The collections which stem from the 1770s contain some of the best-known and beloved piano sonatas of Haydn including those in Cmajor D major and G major Hob. XVI:35 37 and 27. The most important is no doubt the last sonata in the collection in c minor Hob. XVI:20 whose intense passion and expressiveness already anticipate Beethoven’s boldness. Franz Joseph Haydn was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the Piano trio and his contributions to musical form haveearned him the epithets 'Father of the Symphony' and 'Father of the String Quartet'. At the time of his death aged 77 he was one of the most celebrated composers in Europe. Franz Joseph Haydn: Complete PianoSonatas Volume II includes 18 sonatas for solo Piano. This Urtext Edition is an authoritative edition with accurate editorial content and as close to the composer's intentions as possible.

Beethoven’s 32 piano sonatas are often referred to as the “New Testament of Music” (Hans von Bülow). Since the publication of our complete edition in two volumes experts have praised it as being the most reliable Urtext edition. Its contents: an almost inexhaustible wealth of pianistic musical flights of inspiration predominantly high profile works – the Sonatas “Pathétique” “Moonlight” “Storm” “Appassionata” “Waldstein” “Hammerklavier”. Even if one will never (be able) to play them all the acquisition of the “New Testament” is always worthwhile whether clothbound paperbound or as a study edition in Henle Urtext.Volume 2 of Beethoven's Complete Piano Sonatas. Beethoven's mastery was mesmerising and his Piano sonatas are among the best in the repertory. This Urtext Edition is an authoritative edition with accurate editorial content and asclose to the composer's intentions as possible.

The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to flee with Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the clarinet they were accompanied by alternative parts for violin and cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.?The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

No music lover can remain untouched by the emotional quality of this work composed in Schubert’s last year. The monumental weight of the outer movements the intimate lyricism of the “Adagio” as well as the unusual timbre ensure the uniqueness of this quintet. An additional cello which takes on an essential melodic role joins the classical string quartet. The editor of our new Urtext edition Egon Voss not only does justice to the difficult source situation- with new and convincing solutions for difficult page turns in our Urtext edition for practical music making he also takes into account the demands of musical practice.?Opus Post.163 D 956

Schubert composed the Wandererfantasie in November 1822. Though generally designated as a year of crisis an entire series of Schubert’s important works were created precisely at this time when the Wandererfantasie for example but also the Symphony in B minor the “Unfinished ” began to cast their spells on music lovers all over the world. There were several precursors in particular the fantasias of Carl Philipp Emanuel Bach and Mozart. Nevertheless Schubert continued to develop the genre in this masterpiece. He combined the principle of the fantasia with that of the sonata cycle by dividing the whole into four large sections (movements) that flow seamlessly into oneanother whereby he derived the thematic material from a core which – not surprisingly – consisted of measures borrowed from the song Der Wanderer in the second movement. This work was one of the few instrumental works of Schubert’s to have appeared in print during his lifetime and was already receiving encomiums from the critics back in its day. It still ranks today among the most often played yet technically and musically highly challenging works of this composer. Urtext edition of Schubert's Wanderer Fantasy .

Piano Reduction-Robert Schumann’s famous Piano Concerto in a minor has always been part of the pianist’s repertoire – yet the two later Concert Pieces for Piano and Orchestra op. 92 and op. 134 (Urtext edition of op. 134 is currently being prepared) have wrongly been somewhat neglected. Their formal composition is very innovative: the three movements usually in a concerto have been combined to form one single movement. Clara Schumann who played the solo part in the première of opus 92 on 14 February 1850 in the Gewandhaus in Leipzig enthusiastically noted in her diary “I am very looking forward to playing it – it is very passionate and I am sure I will play it thus”. Introduction And Concert Allegro Op.134 Piano Reduction was composed in 1849 by Robert Schumann . This Piano duet is the reduction from the full Orchestral score with Piano 1 taking thesolo and Piano 2 representing the Orchestra in a beautiful and technically challenging piece.

Single Edition from HN 32-Composed in 1800 this work was published two years later under the title “Grande Sonate” in order to demonstrate the resumption of an earlier four-movement sonata model. Beethoven proudly announced to his publisher: “This sonata is a winner” – which implied not only both the high technical demands through brilliant virtuoso passages but also the sonata’s particular musical characteristics. In 1807 a critic judged that the work combined “in a very original manner brilliance and power solemnity and poignancy cheerfulness pleasantness and an unsettling and great loftiness”. Ludwig Van Beethoven 's Piano Sonata No. 11 In B Flat Op. 22 for solo Piano. Suitable for pianists at an advanced level.

Piano Sonatas Volume I-Schubert’s 22 piano sonatas sketch a very illuminating picture of the prematurely departed composer’s compositional path. From the first essays of the gifted young 16- to 19-year old 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 I of the three-volume Henle Urtext edition of Franz Schubert’s piano sonatas contains seven sonatas from the two earlier periods as well which all became known with opus numbers. Only two were published during Schubert’s lifetime. Thebook opens with what is no doubt the best-known sonata of these two periods the A-major Sonata D 664 op. post. 120. Given the length of time between the composition of each – 1817 1823 1825 – the works present a great diversity of forms and expression.

Studien-Edition - Urtext-Chopin revolutionized the etude – but he ennobled the waltz. He spent much time on this genre throughout his life and created a wide spectrum of forms from virtuosic showpieces – the Grandes Valses Brillantes – to deeply melancholic atmospheric pictures. All these works have one thing in common: one cannot and should not dance to them! Our volume contains all of the waltzes that were published during Chopin’s lifetime or posthumously including popular masterpieces such as the so-called “Minute Waltz” (op. 64 no. 1). In cases where two authentic versions of the same waltz have been transmitted we naturally give the Urtext of both versions. Chopin revolutionized the etude – but he ennobled the waltz. He spent much time on this genre throughout his life and created a wide spectrum of forms from virtuosic showpieces – the Grandes Valses Brillantes – todeeply melancholic atmospheric pictures. All these works have one thing in common: one cannot and should not dance to them! Our volume contains all of the waltzes that were published during Chopin ’s lifetime orposthumously including popular masterpieces such as the so-called “ Minute Waltz ” (op. 64 no. 1). In cases where two authentic versions of the same waltz have been transmitted we naturally give the Urtext of bothversions.

Single Edition from HN 32-This middle piece of the early set of three early sonatas op. 2 dedicated to Joseph Haydn was probably composed in the winter of 1794/95. To this day it stands – unjustly -- in the shadow of its more popular neighbours the brooding impassioned f-minor Sonata op. 2 no.1 and the mighty virtuosic one in C major op. 2 no. 3. In its expressive serenity its formal structure replete with surprising turns and its sheer joy in music-making it is the one in the set that most closely reflects the influence of Haydn’s teaching. At the same time however it manifests some idiosyncratic traits that point far into the future such as in the Largo appassionato the passionate mood andintrospection of the melody that dominates the second movement and in the first designation of the following Menuet as “Scherzo” coupled with a real Ländler as Trio. Henle Urtext Edition of Ludwig Van Beethoven 's Piano Sonata No. 2 In A Op. 2 No. 2 for solo Piano. Suitable for pianists at an intermediate-advanced level.

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 subsequent composers measured themselves. After piano and chamber music he also conquered the world of the symphony during his Viennese years with his first work in C major op. 21. In subsequent years this First Symphony became very popular. Only with the emergence of a Romantic view of Beethoven did it move into the background. The present Urtext study edition follows the musical text of the Beethoven Complete Edition. The editor’s extensive preface with fascinating details concerning the genesis and sourcesituation makes this small-format score particularly valuable. The Symphony No.1 in C Major (Op. 21) was first performed in 1800 and published in 1801. It is scored in four movements: Adagio molto – Allegro con brio; Andante cantabile con moto; Menuetto: Allegro moltoe vivace; Adagio – Allegro molto e vivace. Ludwig van Beethoven (1770 – 1827) was a German composer and pianist and arguably the most famous composer of all time. He was the last great figure of the Classicalera and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16 String Quartets.

Prussian Quartets-The volume opens with something unusual: opus 42 is a single work short and surprisingly easy to play- Haydn described it as “something small and with only 3 pieces”. The Quartets op. 50 including the so-called Frog Quartet are dedicated to the Prussian king Friedrich Wilhelm II who was a talented cellist. Even though the “solo” at the beginning of opus 50 1 is meant as joke there are some good passages for cellists.? This volume opens with something unusual: opus 42 is a single work short and surprisingly easy to play; Haydn described it as 'something small and with only 3 pieces'. The Quartets op. 50 including the so-called Frog Quartet are dedicated to the Prussian king Fried-rich Wilhelm II who was a talented cellist. Even though the 'solo' at the beginning of opus 50.1 is meant as joke there are some good passages for cellists.

Schubert only took ten days to write his String Quartet in G major one of his truly monumental chamber music works. With its almost symphonic dimensions this late quartet is reminiscent of his great String Quintet in C major. As divulged in a letter Schubert actually wanted to “pave the way for the large symphony” with this quartet and several other chamber music works that he composed around the same time. Written in 1826 the quartet was not performed in public during the composer’s lifetime- and it was only published long after his death. Our Urtext edition with its accompanying study edition is therefore based on the surviving autograph.?Schubert only took ten days to write his String Quartet in G major one of his truly monumental chamber music works. With its almost symphonic dimensions this late quartet is reminiscent of his great String Quintet in C major . As divulged in a letter Schubert actually wanted to 'pave the way for the large symphony' with this quartet and several other chamber music works that he composed around the same time. Writtenin 1826 the quartet was not performed in public during the composer’s lifetime; and it was only published long after his death. This Urtext edition with its accompanying study edition is therefore based on the survivingautograph.