15 well-known original pieces in progressive order of difficulty with practical comments-Brahms’s music does not have to be difficult or melancholy – our selection here proves it. Even less advanced pianists will find playable immediately appealing pieces amongst his works for piano. His delicate intermezzi are dreamy and soulful in mood while our selection of his waltzes (which Brahms himself published again in simplified versions) shows his cheerful “Austrian” side. Brahms’s music does not have to be difficult or melancholy – our selection here proves it. Even less advanced pianists will find playable immediately appealing pieces amongst his works for piano. His delicate intermezzi aredreamy and soulful in mood while our selection of his waltzes (which Brahms himself published again in simplified versions) shows his cheerful “Austrian” side.

String Quartets Book XI op. 77 und 103-These are the last of the nearly seventy quartets in Haydn’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103 adding to the print the portentous words: “Gone is all my strength old and weak am I.” Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far asto call op. 77 no. 2 his “most beautiful string quartet.”? These are the last of the nearly seventy quartets in Haydn ’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn ’s healthwas so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op.103 adding to the print the portentous words: “Gone is all my strength old and weak am I”. Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far as to call op. 77 no. 2 his “most beautiful string quartet”.

Mozart was neither a flautist nor a harpist but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions- the lean and euphonious piano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editions ofMozart’s surviving concertos and chamber music with flute.? Mozart was neither a flautist nor a harpist but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions; the lean and euphoniousPiano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the Harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editionsof Mozart ’s surviving concertos and chamber music with Flute.

Every young violinist is familiar with Schubert’s sonatinas for violin and piano. The title “sonatinas” used here is derived from the posthumous print of 1836 Schubert himself called them “sonatas.” The diminutive form was no doubt selected because the pieces are fairly easy to play marketing considerations perhaps also played a role here. With their typically lively Schubertian melodies they are among the most popular pieces ever written for piano and violin and have continuously maintained their position as “bestsellers” in the Henle catalogue (having the “early” publisher’s number 6). Schubert wrote them in 1816 thus at the age of 19. The first edition sometimesdiverges considerably from the autograph fortunately it has survived almost in its entirety (missing is the finale of the 2nd sonatina). For this final movement the first edition had to be consulted as a source. An authoritative Urtext edition of Franz Schubert's Sonatinas for Piano and Violin Op. post.137 as edited by Gunter Henle and KarL Rohrig.

The first Prelude from volume I of the Well-Tempered Clavier is among the most-played pieces in the piano repertoire. Though it seems easy to play this is misleading since the performer must build up and maintain the musical tension. Only in the closing measures does the tension let up and lead to the more challenging fugue.

Bartók’s Mikrokosmos is one of the milestones in the pedagogical piano repertoire – and yet it is also far more than a “classical” piano primer. These 153 piano pieces organised in ascending order of difficulty engage not only with technical aspects of piano playing but also with the fundamentals of composition – from “Ostinato” “Free variations” and “Imitation and inversion” concerning compositional technique to programmatic ideas as in “From the diary of a fly” or the famous “Six dances in Bulgarian rhythm” that form the passionate close of this unique work. This Henle Urtext Edition is based on the corresponding volume of the Bartók Complete Edition that is currently inpreparation and also includes specific practical comments and tips concerning Bartók’s own performances. Furthermore the six volumes of the first edition which first appeared in 1940 are here gathered together in three practical double volumes that offer both beginners and advanced pianists a perfect introduction to this work. Bartok's Mikrokosmos is one of the milestones in the pedagogical piano repertoire - and yet it is also far more than a classical piano primer. These 153 piano pieces organised in ascendingorder of difficulty engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Ostinato Free variations and Imitation andinversion concerning compositional technique to programmatic ideas as in From the diary of a fly or the famous Six dances in Bulgarian rhythm that form the passionate close of this unique work.This Henle Urtext Edition is based on the corresponding volume of the Bartok Complete Edition that is currently in preparation and also includes specific practical comments and tips concerning Bartok's ownperformances. Furthermore the six volumes of the first edition which first appeared in 1940 are here gathered together in three practical double volumes that offer both beginners and advanced pianists a perfect introduction tothis work.

Grieg’s celebrated Piano Concerto turns out to be an editor’s nightmare. Even during the composer’s lifetime the work was so famous that it had to be reprinted over and over again each time with revisions from the composer. A detailed preface throws light into the mare’s nest of the sources. Einar Steen-Nökleberg equally well-known for his complete recording of Grieg’s piano music has judiciously revised the piano reduction to make it more playable. Piano and Piano reduction of orchestral score. Grieg's celebrated Piano Concerto turns out to be an editor's nightmare. Even during the composer's lifetime the work was so famous that it had to be reprinted over and overagain each time with revisions from the composer. A detailed preface throws light into the mare's nest of the sources. Einar Steen-Nökleberg equally well-known for his complete recording of Grieg's piano music has judiciouslyrevised the piano reduction to make it more playable.

This volume completes Henle's urtext series of Joseph Haydn's three piano concertos. Written in or around 1765 the delightful first concerto is ideally suited for playing at home for the relatively undemanding part for piano (or harpsichord) is accompanied merely by a string quartet. This edition draws on the musical text in our complete edition of Haydn's works guaranteeing an urtext of the finest quality.? This volume completes Henle's urtext series of Joseph Haydn 's three Piano concertos. Written in or around 1765 the delightful first Concerto is ideally suited for playing at home for the relativelyundemanding part for Piano (or Harpsichord) is accompanied merely by a String quartet. This edition draws on the musical text in our complete edition of Haydn 's works guaranteeing an urtext of the finest quality.

Klavierauszug-This Henle Urtext edition in unrivalled in layout and precision. The professional journal “Rohrblatt” wrote shortly after its publication (in 2004): “An editorial stroke of genius … Every oboist who attempts this concerto must have his interpretation measured against this edition.” Such praise principally honors the editor the famous oboist Ingo Goritzki. It was his idea to offer a supplement to the edited instrumental part that presents both sources of the work – each problematic in various ways – together with the edited part. Owing to this chosen arrangement of the score one can see all variants at a glance and make one’s own justified performance decisions. Particularlyproblematic and oft-debated passages are discussed in detail by Professor Goritzki. The above-cited praise for “an editorial stroke of genius” also applies to Mozart expert and pianist Robert Levin who has composed idiosyncratic cadenzas in the master’s style especially for Henle’s edition of Mozart’s oboe concerto very much in the improvisatory spirit of a cadenza one can jump from one place to another in the template thanks to a simple (numerical) cross-reference system and thus craft one’s “own” cadenzas. Finally a word about the much-praised piano reduction for this edition which comes from Mozart expert and renowned continuo specialist Siegfried Petrenz. He aims for a well-sounding and not too technically-challenging keyboard part that is clearly removed from those often-found piano reductions that orient themselves around an orchestral scoring. In so doing he also takes account of the typical instructional situation in which a professional accompanist is not always available to the oboist.

Clarinet and Piano- Following the Henle edition of the Grand Concerto In F Minor Op. 5 (HN 1209) the series of Crusell ’s Clarinet concertos has been expanded to include the one in B flat major op. 11. The Swedish composer washimself a prominent Clarinet virtuoso and the concertos were tailor-made for himself so to speak. Despite being technically very demanding the Concerto In B Flat Major avoids being overly virtuosic and wins usover with its melodic ingenuity. It is a very welcome addition to the early Romantic repertoire for the Clarinet. The clarinettist Nicolai Pfeffer edited the edition in an exemplary manner consulting the solesurviving source the first edition of 1829. Johannes Umbreit was responsible for the study score which wonderfully fits the hands.

A genuine discovery! Written at the same time as the Magic Flute this is Mozart’s final piece of chamber music. Anyone lacking a glass harmonica should try it with a piano or a harp (it has even been heard with a marimba!). It’s worth the effort and Henle’s scholarly-critical urtext material offers a 100% reliable musical text.? For glass harmonica (piano) flute oboe viola and cello.

Clarinet Sonata op. 107-Just as Johannes Brahms had done with his Opus 120 Reger also provided parts for two alternative solo instruments for his Sonata op. 107: I will also arrange the clarinet part for viola so that the work can also be played thus (letter to his publisher). He by no means wanted to leave the arrangement of the viola part to the publisher as slurs had to be changed here and there as well as octave transpositions had to be made - only I can do this work! The viola’s sonorous mid range comes close to that of the clarinet but lends the work its own timbre. Viola players will also value this Urtext edition on account of the practical fingerings and bowing marks.?Just as Johannes Brahms had done with his Opus 120 Reger also provided parts for two alternative solo instruments for his Sonata op. 107: 'I will also arrange the clarinet part for viola so that the work can also be played thus'(letter to his publisher). He by no means wanted to leave the arrangement of the viola part to the publisher as slurs had to be changed here and there as well as octave transpositions had to be made - 'only I can do this work!'The viola’s sonorous mid range comes close to that of the clarinet but lends the work its own timbre. Viola players will also value this Urtext edition on account of the practical fingerings and bowing marks.

“ His present pieces must convince both connoisseurs and others alike of the unbiased opinion that Beethoven will in time become one of the greatest composers in Europe ” thus wrote Joseph Haydn when informing the Electorin Bonn on the progress of his pupil in 1793. However the elector replied that he was already familiar with parts of the Parthia op. 103 that had been sent as evidence of the composer’s progress. Beethoven had apparentlyonly reworked an earlier composition. Nevertheless we must agree with Haydn: The Parthia and the Rondo WoO 25 that was originally intended as the final movement provide wonderful evidence of Beethoven ’s great skill. This Henle Urtext edition also contains additional parts for Horns in F.

Every known source has been examined to produce an urtext edition complete with preface and editorial notes to explain the work’s complex source situation. No audition candidates who want to flaunt their knowledge of the historical sources as well as their brilliant technique can afford to miss this volume!? An Urtext edition of Carl Stamitz's Viola Concerto No.1 In D arranged here with Piano reduction by Johannes Umbreit with cadenzas and lead-ins by Robert D. Levin and edited by Norbert Gertsch and Annemarie Weibezahn.Fingering and bowing by Jurgen Weber.

Avant-dernières Pensées-In a typically humorous manner Satie countered the myth of the great master’s “last thought” with his “Next-to-last thoughts” (Avant-dernières Pensées). As was usual with his piano works from 1912 onwards each of the three highly distinctive pieces with their sound sensitive piano settings contained a short whimsical story printed in the musical text as a subtext which is more or less closely connected with the music. Satie dedicated his “Next-to-last thoughts” to prominent contemporaries: Claude Debussy (for no. 1 “Idylle”) with whom he was close friends Paul Dukas (no. 2 “Aubade” in English “Dawn serenade”) whose music he greatly admired and Albert Roussel (no. 3“Méditation”) his former teacher of counterpoint at the Schola Cantorum in Paris. In a typically humorous manner Satie countered the myth of the great master’s “last thought” with his “Next-to-last thoughts” (Avant-dernières Pensées). As was usual with his piano works from 1912 onwards each of the three highlydistinctive pieces with their sound sensitive piano settings contained a short whimsical story printed in the musical text as a subtext which is more or less closely connected with the music. Satie dedicated his “Next-to-lastthoughts” to prominent contemporaries: Claude Debussy (for no. 1 “Idylle”) with whom he was close friends Paul Dukas (no. 2 “Aubade” in English “Dawn serenade”) whose music he greatly admired and Albert Roussel (no. 3“Méditation”) his former teacher of counterpoint at the Schola Cantorum in Paris.

Little Preludes and Fugues-This edition with over 50 pages contains the universally known selection of easy preludes and little fugues that has proved extremely successful in teaching the piano. Bach’s sons with Wilhelm Friedemann and Carl Philip Emanuel leading the way were already able to learn them. If you make your way through these pieces (which gradually become more challenging) you can make great progress on the piano and what is more these 300-year-old compositions are still able to work their musical magic. Those who are technically more advanced should still occasionally sight read through them- you will then immediately see that they are real gems. Incidentally all of Bach’s piano works areavailable from Henle both with and without fingerings. An authoritative edition featuring 26 short melodic works for Keyboard by J.S. Bach brimming with melodic invention and Baroque elegance - required repertoire for the accomplished Pianist. This Urtext edition has been editedwith critical commentaries by Rudolf Steglich and fingered by Hans-Martin Theopold.

The Symphonie espagnole for violin and orchestra perhaps Lalo’s best-known composition is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms of applause from the Parisian audience and marked Lalo’s breakthrough. He wrote the work for his friend Pablo de Sarasate who played it at his concerts and quickly made it known throughout Europe. This edition is the first to make use of Lalo’s autograph manuscripts.? The Symphonie Espagnole For Violin And Orchestra perhaps Lalo ’s best-known composition is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms ofapplause from the Parisian audience and marked Lalo ’s breakthrough. He wrote the work for his friend Pablo de Sarasate who played it at his concerts and quickly made it known throughout Europe. This edition is the firstto make use of Lalo ’s autograph manuscripts.

Los Majos Enamorados- The Spanish composer Enrique Granados left a varied and wide-ranging oeuvre but it is above all his Piano music that is still very much alive today. This Urtext edition of the dazzlingly virtuoso Goyescas – no doubt his best-known Piano composition – now brings a prestigious new work to the Henle catalogue. The suite was written between 1909 and 1911. Its unusual title goes back to the Spanish artistFrancisco de Goya whose paintings inspired Granados . The Goyescas conjure up Spanish life in Goya’s time at the end of the 18th century – gallant and sensual but also melancholic and dark. Thesubtitle “Los majos enamorados” (the young lovers) provides a thematic link among the six scenes which depict the joys and sufferings of budding love.

Georges Bizet was not eminent as a piano composer for the number of his piano works is small and not very substantial in terms of form content and character. Yet there is an exception: the “Jeux d’enfants” for piano four hands from 1871. In this loosely-connected series of twelve short and very terse genre pieces Bizet crafted a charming masterwork. With an unpretentious simplicity that is full of French ‘esprit’ he creates a unique and distinctive mood in each of the miniatures and the textural-harmonic means employed already point in the direction of Ravel and Debussy! Unfortunately much of his compositional audacity was smoothed out in the first edition of 1872 makingit all the more important that our Urtext edition also takes Bizet’s autograph into account. The preface and comments go into detail about all the discrepancies of the first edition thereby offering a fascinating glimpse into publishing history.

The “Little Lyrical Pieces” – which is how the title still reads in the earliest editions – rank among Grieg’s most popular works. He had just turned 24 when these delightful and easily playable miniatures appeared since when they have accompanied many piano students on the path towards classical music. Grieg himself would never have dreamed in 1867 that a further nine books of Lyric Pieces were to follow the series ended in 1901 with Book Ten.