In his collections of Impromptus and Moments musicaux Franz Schubert impressively showed at the end of his life how a lyrical songlike form can be rendered on the piano. In spite of their simplicity his popular Impromptus op. 90 for example prove themselves to be consummate works of art and number among the most beloved pieces of Romantic piano music. The third Impromptu of op. 90 an Andante in G-flat major is a mysterious reverie in pianissimo. A peaceful melody hovers over a murmuring accompaniment of eighth-note triplets while the harmonies change very gently. This Urtext edition provides the work as a separate edition in the original key. To make it easier to play other editions often transpose it into G major which however diminishes the distinctive colour of this piece. Henle Verlag Urtext edition of Schubert's Impromptu In G Flat Op.90 No.3 for Piano solo.

Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of the influence of Johann Christian Bach’s works. A score of this concerto has not survived- all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment- however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now be performed in itssurviving form – by a pianist without an orchestra. Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of theinfluence of Johann Christian Bach’s works. A score of this concerto has not survived; all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment;however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now beperformed in its surviving form – by a pianist without an orchestra.

The Urtext instrumental part of this edition is laid out as a combined flute and bass part (featuring the original basso continuo figures without realisation). This manner of reproduction is oriented on the historical sources. Thus it is possible for an experienced continuo player to improvise a free accompaniment of his own to the sonata. Two copies of this dual part are included in this Henle edition so that both players flautist and accompanist can perform from this combined musical text. In addition to the basso continuo figures the score offers a historically appropriate basso continuo realisation that can be played at sight. In order to avoid page turns within themovements the instrumental part is provided with a fold-out panel and a blank page.

Works for Piano Four-hands-With the exception of the version of the “Grand Fugue” for piano four hands (HN 954) this volume contains all of Beethoven’s works for this scoring to which he only rarely turned. It comprises the Sonata in D major op. 6 the “Three Marches” op. 45 the “Eight Variations on a theme of Count von Waldstein” WoO 67 and the “Six Variations on the Song Ich denke dein” WoO 74 – all of these works are very well-suited to piano teaching. The musical text was revised to follow the recently published Critical Report of the Beethoven Complete Edition and is now accompanied by new explanatory texts. The piano duo specialist Andreas Groethuysen has also provided fingerings for this work.Works by this publisher are not included in the main catalogue.

Piano Sonata in b minor-Following the revision of our facsimile of the Piano Sonata in b minor (HN 3227) in 2015 we are now proud to present the corresponding new Henle Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought everything confused.” Today we view this differently. Our new edition of this key piano workis further enhanced by the sophisticated fingerings supplied by the piano titan Marc-André Hamelin. Following the revision of Henle's facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 they are now proud to present the corresponding new Henle Urtext edition. With the helpof the splendid facsimile reproduction Henle were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a studentof Liszt's in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: It is only blind noise -not a single healthy thought everything confused. Today we view this differently. Henle's new edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-André Hamelin .

Initially only conceived as a birthday album for his daughter Marie Schumann’s “Pieces for Piano” op. 68 received tremendous acclaim throughout the world. Is there a piano student who has not played part of them? It is however a less well-known fact that Schumann also composed a “music historical course of instruction” for the piano in this connection. We have included this and other pieces originally intended for the “Album” in the appendix to our painstakingly revised edition. Rounded off by the inclusion of Ludwig Richter’s illustration for the title page of the first edition and the trilingual print of the “Advice to Young Musicians” our Urtext edition offers a vividpicture of middle-class musical culture in Schumann’s times.? A highly accurate Henle Verlag Urtext edition of Robert Schumann's Album Fur Die Jugend (Album for the Young) Op.68 as edited by Wolfgang Boetticher and fingered by Walther Lampe.

The Menuett the Deutscher Tanz the Kontretanz and the Ecossaise were extraordinarily popular social dances during Beethoven’s lifetime. Thus along with sonatas and variations Beethoven on numerous occasions composed easy-to-play dances and dance collections for solo piano which are brought together in their entirety for the first time in our volume. Beethoven did not give these occasional pieces an opus number so today they are numbered only as WoO (Werke ohne Opus or works without opus). A few dances are piano arrangements of orchestral dances since piano reductions for home music-making were indispensable at that time. As is to be expected from a substantial Urtextedition the preface and Critical Notes for this important collection deal with the complex source situation of the individual pieces along with the question of the authenticity of these piano arrangements. This accurate and authoritative Henle Urtext edition contains the complete Dances for Piano by Ludwig van Beethoven.

Sonata no. 1 in d minor op. 75 for Piano and Violin-Originally planned only as a little duo for violin and piano the composition grew into a sonata in autumn 1885. The first performances were more than disillusioning for Saint-Saëns as the violinists came to grief with its virtuosic demands in particular those of the finale. He told his publisher that it would be called “the hippogriffsonata” implying that the violin part could only be played by a mystical figure. Since then the sonata has by and large lost its horrors and is now one of the best loved chamber music works by the French master despite or perhaps even because of its technical challenges. Our Urtext edition is the first to take into account all survivingsources for the work. Violin Sonata No. 1 D Minor Op. 75 was originally planned only as a little duo for Violin and Piano the composition grew into a Sonata in autumn 1885. Saint-Saëns implied that the Violinpart could only be played by a mystical figure. Violin Sonata No. 1 D Minor Op. 75 has lost its horrors and is now one of the best loved chamber music works by the French master.

Combining these two Schumann bestsellers seemed very natural: both of the titles not only reflect their inner association but the technical demands on the pianist are for once not so great (see the levels of difficulty). And both works are collections of more-or-less short succinct pieces that ever since their publication (in 1839 and 1848) were to “profoundly influence middle-class musical culture in the second half of the 19th century. To this day they have lost hardly any of their appeal” (Ernst Herttrich in the preface).Scenes From Childhood Op.15 and Album For The Young Op.68

Just as in his “Trout” Quintet (D 667) “Wanderer” Fantasy (D 760) and string quartet “Death and the Maiden” (D 810) in the flute variations on “Trockne Blumen” (D 802) Franz Schubert employs one of his songs as the thematic basis of an instrumental composition. “Trockne Blumen” (Dried Flowers) is the eighteenth song from the cycle “Die schöne Müllerin” (D 795) composed in autumn 1823. In January 1824 before publication of all of the Müller songs that summer the Theme and Variations in E minor for flute and piano were written prefaced by a weighty introductory section. The work remains Schubert’s single and singular virtuoso composition for flautists: tremendouslydifficult for the flute to play and incidentally sometimes very tricky for the piano to “accompany.” Schubert’s much-reworked autograph manuscript is the sole authoritative source for our Urtext as it demonstrably served as the engraver’s copy for the posthumously published first edition. One of the variations he crossed out entirely – the Henle Urtext edition reproduces it more for informational purposes than for performance in the appendix. A highly authoritative Urtext edition of Franz Schubert's Variations On 'Trockne Blumen' D.802 Op. post.160 for Flute and Piano as edited with critical commentaries by Wolf-Dieter Seiffert and fingered by Klaus Schilde.

aus der Partita Nr. 2 d-moll BWV 1004-Who isn’t familiar with Johann Sebastian Bach’s Chaconne the final movement in his Partita in d minor for Violin solo? Time and again composers have been inspired to make this exceptional piece accessible for other instruments. Perhaps thebest-known arrangement is by Ferruccio Busoni. Without distancing himself too greatly from Bach’s original he endeavours to transpose the virtuosity of the string writing onto the piano. Thus Busoni wrote for the piano in a way that congeniallymakes the most of the capabilities of the modern piano. Our Urtext edition not only takes into account the traditional sources but also meticulously analyses a piano roll in great depth on which Busoni himself can be heard. The fingerings wereprovided by none other than Marc-André Hamelin. J. S. Bach 's Chaconne From Partita No.2 D Minor arranged by Ferruccio Busoni for solo Violin. The final movement in Bach 's Partita the Chaconne in DMinor has inspired many highly-regarded composers over the years and there are several whom have sought to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni . Without distancing himself too greatly from Bach ’s original he endeavors to transpose the virtuosity of the String writing onto the Piano. Thus Busoni wrote for the Piano in a way thatcongenially makes the most of the capabilities of the modern Piano. This Henle Urtext edition not only takes into account the traditional sources but also meticulously analyses a Piano roll in great depth on which Busoni himself can be heard. The fingerings are provided by none other than Marc-André Hamelin.

In early 1878 Peter Tchaikovsky had just sent his opera “Eugene Onegin” and his Fourth Symphony on their way but had no intention of taking a creative break. On the contrary he immediately took up his pen and composed his Twelve Pieces op. 40 for piano. This cycle features various genres including piano pieces typical of the epoch such as etudes waltzes and mazurkas but they are also joined by pieces presumably connected with Tchaikovsky’s biography. These bear titles like “Au village” “Marche funèbre” and “Rêverie interrompe”. For this Urtext edition it was possible to consult the autograph engraver’s copy in the Glinka Museum in Moscow as well as rare Russianprints from 1879 and 1890 as described in detail in the preface.

Symphony in Eb major Hob. I:103 (Drumroll)-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning: a solo drumroll in the timpani ushers in the slow introduction. This opening bar marked with Haydn’s heading Intrada” and a pause even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the HaydnComplete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in Bb major Hob. I:102-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual in that Haydn includes trumpets and timpani both muted. This study edition adopts the musical text of theHaydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume I contains Haydn’s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this group has been questioned – the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Six Duos (op. 48) for two Violins-These easy duets were published around 1796/97 by Pleyel’s own publishing house both as Six Duos faciles et progressives for two violins and as Six nouvelles Sonatines progressives for piano and violin though we do not know today which version came first. To this day the violin duets are favorites for use in violin lessons but also for making music at home. Though lesser known today around 1800 Ignaz Pleyel numbered among the most popular composers in Western Europe - which may at first come as a surprise but which to judge from these very appealing pieces manageable for advanced beginners is easily understandable. With an unmarked score and two marked solo parts the Urtextedition provides optimal material for use in teaching.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Violoncello Sonata G Minor Op. 5 No. 2

Studies Op. 18