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.

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.