To commemorate the 200th anniversary of Robert Schumann’s birth an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works comprising six volumes are now available in paperbound or clothbound editions as well as a study edition set in a slipcase. Clearly ordered by opus numbers the complete edition includes not only all of Schumann’spiano works revised to reflect the latest scholarlyfindings but also informative commentary texts alternative versions and many things more. Contents: Fantasiestücke op. 12 (mit Anhang: WoO 28) Paganini-Etüden op. 10- Sonate fis-moll op. 11- Allegro h-moll op. 8- Carnaval op. 9 On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned a difficulty of 'advanced' as a guide to thegeneral proficiency required to play all the pieces. Contents: Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9

Piano Sonatas Volume I-When Günter Henle founded his Urtext publishing house in 1948 the first work in the catalogue was the two volume edition of all of Mozart’s piano sonatas. Even today they still bear our numbers HN 1 and HN 2. Over the years both of the volumes have been revised several times so that the musical text always reflects the latest in scholarly research. The manuscripts have survived for many of Mozart’s sonatas and for some of his works he made slight changes to the text before printing. For this reason we provide both versions in such cases. The editor’s preface and critical commentary provide detailed information concerning all of the sources and questions regarding the text. A highly authoritative Urtext edition of Mozart's Piano Sonatas with thoroughly detailed editorial markings and suggestions as edited by Ernst Herttrich and fingered by Hans-Martin Theopold. This is the first volume ofMozart's Piano Sonatas and includes sonatas from Nos.1-9 all giving the most accurate realisation of the composer's original intentions.

Johannes Brahms’s Piano Sonatas opp. 1 2 and 5 were among the first works that the 20-year-old composer published. They were composed in 1852/53 although the Sonata in f-sharp minor was apparently the first of the three to be composed as it was finished by November 1852. This work has a special place in his oeuvre. Besides its passionate atmosphere his contemporaries discerned it to be “serious and dignified in character”. Brahms dedicated this sonata to Clara Schumann whose husband Robert wrote to the composer that “Your second sonata my friend has brought me much closer to you”. The ingenious fingerings have been provided by the pianist Andreas Boyde a recognisedBrahms expert. A superb collection of some of his first works Brahms’ Sonatas Scherzo And Ballades provide a superb enrichment to any accomplished pianist's repertoire. This highly authoritative Urtext edition of the works have been edited with critical commentaries and fingered by Walter Georgii.

The Nocturne op. 37 no. 2 composed in 1839 is a perfect example of the rich pearling cascades of thirds and sixths that keep Chopin’s piano works at the top of the popularity list and as beloved today as in his time. Although no autograph of op. 37 has survived an engraver’s exemplar for the 1840 edition from Breitkopf & Härtel is extant and was corrected by Chopin himself. We have of course consulted this source for our Urtext edition.

For half a century Henle’s edition of the Beethoven sonatas – the “New Testament” of the piano repertoire – has been universally recognized as the stan-dard starting-point for any serious study of these works. Now with the publication of the three op. 31 sonatas in revised separate editions we are raising the yardstick another notch: no less a musician than the pianist and conductor Murray Perahia hasagreed for the first time ever to publish his fingerings and as co-editor to confide his profound insights into the sources to music lovers everywhere. The musical text has been prepared in strict accordance with the rules of modern Urtext editing and the volume is roundedoff with a lengthy and informative preface and detailed notes on sources and alternative readings. To be continued …!? An authoritative Urtext edition of Ludwig Van Beethoven's Piano Sonata In D Minor 'Tempest' Op.31 No.2 as edited by Norbert Gertsch and edited and fingered by Murray Perahia.

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.

String Quartets op. 41-Although Schumann’s first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments the three String Quartets op. 41 in a minor F major and A major were written in one go in June/July 1842. At the firstprivate performances the audience was enthusiastic and it was Mendelssohn’s praise in particular that occasioned Schumann to dedicate the new works to him. The composer wrote to his publisher in an appropriately confident manner: “Be assured I havespared no pains in creating something very decent indeed I sometimes think it is my best”. As is generally known today Schumann’s Opus 41 forms part of the core repertoire for quartet players. Although Schumann ’s first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments the three String Quartets Op.41 in a minor F major and A major were written inone go in June/July 1842. At the first private performances the audience was enthusiastic and it was Mendelssohn’s praise in particular that occasioned Schumann to dedicate the new works to him. The composerwrote to his publisher in an appropriately confident manner: “ Be assured I have spared no pains in creating something very decent indeed I sometimes think it is my best ”. As is generally known today Schumann ’s Opus 41 forms part of the core repertoire for quartet players.

Piano Works Volume III-To mark the 150th anniversary of Debussy’s birth in 2012 we are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music it was important for us to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s we have steadily been publishing single editions of all of Debussy’s important works for the piano. Our editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the Danse bohémiennefrom 1880 all of the single works from our catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little encore we have included the Prélude to the cantata La Damoiselle élue in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy! To mark the 150th anniversary of Debussy’s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy’simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

For connoisseurs of Beethoven’s chamber music G. Henle Publishers offer a special package: all of Beethoven’s string quartets in paperback study editions as a seven-volume boxed set. Renowned editors such as Ernst Herttrich Rainer Cadenbach and Emil Platen provide diligently edited Urtext editions. The specialist press is full of praise: “Overall it has to be said that all the revisions of the present study editions of Beethoven’s String Quartets meet the high standards of objective competent textual criticism and that the practising musician is thereby given a musical text whose textual critical problems may lead to an intensive engagement with Beethoven’scompositions”. These editions based on the Beethoven Complete Edition take into account the complex source situation of the quartets. Detailed accompanying texts round off this splendid edition. Henle Urtext Edition Box Set of Beethoven's String Quartets. Contains seven individual study score editions with Op.18; Op.59 74 95; Op.127; Op.130 133; Op.131; Op.132 and Op.135.

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 he also takes into account the demands of musical practice.?Opus post. 163 D 956. Parts only. 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 this Urtext edition Egon Voss notonly does justice to the difficult source situation; with new and convincing solutions for difficult page turns he also takes into account the demands of musical practice.

Violin Sonata no. 2 e minor op. 108- Fauré ’s 2nd Violin Sonata was written in 1916 in Evian and Paris the first in a series of chamber music works. It is thus one of Faure ’s late works characterised by austerity introspectionand the intensity of its expression. It is hard to imagine a greater contrast to the brilliant and ornamental style of the virtuosic 1st Violin Sonata (HN 980) published 40 years earlier. The 2nd Sonata concentrates on theessentials and on closer contact turns out to be a fascinating composition that harmonically explores the limits of tonality delving deep into the “Modernism” of the 1920s.

Polonaises-The polonaise made its first appearances in stylized dance music in the late 16th century. With his own polonaises Chopin also declared his allegiance to his native Poland. In a way the genre had fascinated him since his childhood. His earliest printed work was a Polonaise (KK IIa no. 1 in g minor) which he had written at the age of seven. The first three posthumously published Polonaises op. 71 as well as KK IVa nos. 1–3 5 and 8 are juvenilia from the Warsaw years. The mature works begin with the seven great Polonaises op. 26 nos. 1 and 2 op. 40 nos. 1 and 2 op. 44 and 53 and above all the Polonaise-Fantaisie op. 61 of 1845/46 Chopin’s last great piano work. Withtheir mixture of festiveness and refinement of power and suppleness of heroic pathos and graceful charm they all testify to the inimitable artistry of this great composer.

Piano Trios-Mozart’s piano trios have been available in an established Henle edition in parts for many years. They have now been extensively revised by the editor and include the latest musicological findings. In particular the autograph scores from the Library of the Jagiellonian University of Cracow which were not accessible for many years form the basis of this revision with its extensive commentary. On the occasion of this new edition Henle is proud to present a study edition of the piano trios for the first time. Mozart ’s Piano Trios have been available in an established Henle edition in parts for many years. They have now been extensively revised by the editor and include the latest musicological findings. Inparticular the autograph scores from the Library of the Jagiellonian University of Cracow which were not accessible for many years form the basis of this revision with its extensive commentary. On the occasion of this newedition Henle is proud to present a study edition of the Piano trios for the first time.

The genesis of Berg’s Violin Concerto in 1935 is shrouded in tragedy. He had only just finished making the first sketches when Manon Gropius – the daughter of Walter Gropius and Alma Mahler with whom Berg was friends – died of polio. He dedicated the concerto “To the memory of an angel” in her memory. Then Alban Berg died in 1935 so he no longer lived to see it printed or performed. Our edition – violin part and piano reduction – follow the score edited by Michael Kube which is being published simultaneously by Breitkopf & Härtel together with the orchestral parts and pocket score. The illustrious violinist Frank Peter Zimmermann has provided fingerings and bowings forthe violin part. This edition is worldwide available. With marked and unmarked string parts. The genesis of Berg's Violin Concerto in 1935 is shrouded in tragedy. He had only just finished making the first sketches when Manon Gropius - the daughter of Walter Gropius and AlmaMahler with whom Berg was friends - died of polio. He dedicated the concerto 'To the memory of an angel' in her memory. Then Alban Berg died in 1935 so he no didn't live to see it printed or performed. Henle's edition -Violin part and Piano reduction - follows the score edited by Michael Kube which is being published simultaneously by Breitkopf & Härtel together with the orchestral parts and pocket score. The illustrious violinist FrankPeter Zimmermann has provided fingerings and bowings for the violin part.

“Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn’s friend the music historian Charles Burney reported in 1799 that he had “never taken greater pleasure in instrumental music.” Our new edition of these six works including the famous “Emperor Quartet ” follows the text of the complete edition prepared by the Haydn Institute in Cologne. Both the study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.? “Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn ’s friend the music historian Charles Burney reported in 1799 that he had “nevertaken greater pleasure in instrumental music.” Our new edition of these six works including the famous “ Emperor Quartet ” follows the text of the complete edition prepared by the Haydn Institute in Cologne. Boththe study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.

Piano Sonata in B flat major K. 281-In his letters Mozart described his early Piano Sonatas K. 270-284 as being difficult sonatas. He was probably referring less to the refinements of performance and more to the demands of aesthetics and interpretation as he also gave these works unusually rich markings as far as dynamics and articulation were concerned. The tempo marking Andante amoroso rather untypical for Mozart for the middle movement of his Sonata in B flat major K. 281 is striking - but is there a better way to describe this tender lyrical music? Up to now this lovely sonata was only contained in the larger complete volume (HN 1) but now it is offered in an inexpensive single edition.Works by this publisher are not included in the main catalogue.

Violin 1-Score and parts also available: HN963

Arrangement for Piano-Alongside the Chaconne for violin the ten Chorale Preludes for organ are Busoni’s best-known piano transcriptions of works by J. S. Bach. Unlike the Chaconne which Busoni envisaged for concert performance he transcribed the Chorale Preludes in“chamber-music style”. A great deal of this organ/piano edition can also be played by advanced amateurs. We are publishing Busoni’s definitive version in the first modern Urtext edition with valuable fingering suggestions by Marc-André Hamelin. Andwhat is more in the appendix we are publishing an eleventh chorale prelude for the first time: Busoni’s transcription of “Aus tiefer Not”. With regard to performing its six-part setting the composer himself spoke of an “extreme performance limit” –but why not judge for yourself! Alongside his Chaconne for Violin the ten Chorale Preludes for Organ are Busoni 's best-known Piano transcriptions of works by J. S. Bach. Whilst Busoni envisaged the Chaconnefor concert performance the Chorale Preludes are transcribed in a 'chamber-music style'. The Preludes in this book are of varying levels of difficulty some are suitable for intermediate level players andothers for the more advanced pianist. This Henle Urtext Edition is Busoni 's definitive version with valuable fingering suggestions by Marc-André Hamelin. The appendix contains an eleventh chorale prelude Busoni 's transcription of Aus tiefer Not which is published here for the very first time. With regard to performing its six-part setting the composer himself spoke of anextreme performance limit - but why not judge for yourself?

für Violoncello und Orchester-Hummels “Potpourri” for Violoncello and Orchestra op. 95 is part of every violoncello player’s core repertoire especially in its shortened version the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited newly composed passages the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Sebastian Hess has provided fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Hummel produced this version in addition to the original edition for viola. The version presented here was out of print for many years but we have now made itavailable again.? For Cello with Piano accompaniment.

Following the sonatas for oboe and clarinet the bassoon sonata is the last of the compositions for wind from 1921 the year of Saint-Saëns’ death. He did not have a chance to write the sonata for cor anglais he had planned. The humorous technically not very demanding work hardly shows that the composer was not particularly well acquainted with the instrument. In a letter he admitted to his publisher that he had preferred to check a school to confirm the range of the bassoon at a high passage. However trial runs with the subsequent dedicatee Léon Letellier went extremely well for both parties. The autograph was made available for the first time for the publication of our Urtextedition.? After the Oboe and Clarinet sonata the Bassoon sonata forms the conclusion of the wind compositions from Saint-Saens due to his death in 1921 - the also planned Sonata for English Horn never to be composed. Playing thehumorous not too technically demanding work you can hardly imagine that the composer did not feel particularly familiar on this instrument.