Oboenkonzert D-dur

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. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn 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. 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. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn 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.

Symphonies No. 1 And 2

Sonate Op.120 No.1

Frédéric Chopin’s 4 Scherzi are high points in the Romantic piano repertoire. Chopin here takes a traditional genre and fills it with radically new content. They are wild demonic in tone and there is little about them that is joke-like despite the original meaning of their title. Referring to the 1st Scherzo Robert Schumann asked: “how should seriousness be attired when even a ‘joke’ is veiled in black?”. Now that the Scherzi nos. 1–4 have been published in revised stand-alone editions G. Henle Publishers is now offering all four in paperback and hardback in an edition that reflects the current state of Chopin research. Both the footnotes and the extensive CriticalReport on the Internet offer detailed information on the familiar topic of “Chopin variants” and on all the textual problems they raise. This is Chopin in top form!

Concerto for Horn and Orchestra No. 3 E flat major

Sinfonias About 1775/76 (With Critical Report)

Sinfonias 1761-1763 With Critical Report Paperback

Lieder Und Gesange Mit Klavierbegleitung

Wissenschaftliche Gesamtausgabe

Klavier Violine und Violoncello

Piano Sonata No. 28 A major op. 101

String Trios Volume 2

Concerto for Piano (Harpsichord) and Orchestra

It was only with his late works that Debussy an unconventional innovator turned back to tradition. In 1915 he had six sonatas for various instruments in mind. He was only to complete three of them before his death in 1918 following a severe illness. The first of these was the Cello Sonata that he composed unusually quickly in 1915. During his summer holiday by the sea in Pourville Debussy worked at great speed. The sonata with an unusual sequence of movements Prologue-Sérénade-Finale was published in that same year. The work belongs to the cellist’s core repertoire.Authoritative urtext edition of Debussy's Sonata For Cello and Piano . Part of the ABRSM Cello Syllabus Grade 8.

According to Ravel himself the strange title of the little Piano piece composed in 1899 “Pavane for a dead princess” should not be ascribed too much importance. He chose it mainly because he liked the alliterationit contained. At the same time he did however agree that the music evokes “a pavane that a little princess once might have danced at the Spanish court”. Following its premiere in 1902 the simple but effective piece gainedunparalleled popularity not least reflected in the numerous arrangements made of it one of which for small orchestra was by Ravel himself. We are publishing the work in its original version as a fitting addition to our worksby Ravel .

English Suites 4-6 BWV 809-811-Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71) “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN9100). Although people might like to think that the English Suites were composed after the French Suites (HN 71) the temperamental and in part virtuoso flow of these Suites is morecharacteristic of the musical language of the young Bach (from our preface). The kaleidoscopic variety of the six English suites is breathtaking. One lifetime is not enough to exhaustively comprehendand penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and lastbut not least in a very good value study edition with the identical musical text (HN 9100).

Suites Sonatas Capriccios Variations-Apart from the major cycles (partitas French and English suites) a whole series of separate keyboard suites by Bach have come down to us including individual sonatas or sonata movements variations and fragments of various sorts called Capriccios. None of them reached the degree of popularity of the aforementioned large collections. Most of them go back to Bach’s youth and student years to wit to the years between 1700 and 1710 and do not yet reach the mastery of the later years. However this is compensated by the enormous joy one derives in playing these works.Henle Urtext Edition

As is the case with quite a few of his works there are two versions of Schumann’s opus 14 – a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision- the publisher of the first version was however delighted- he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition which now also contains the complete early version the editor Ernst Herttrich provides detailed information on bothversions in an extensive preface and commentary.?

über ein Thema von Beethoven-An Urtext edition of Robert Schumann's Exercices - Studies On A Theme By Beethoven as edited by Robert Munster.