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.

In a note for the planned first edition of his Hungarian Peasant Songs in 1914 Bartók wrote that “the melodies published here are folksongs in the truest sense of the word; more precisely peasant songs”. Bartók initially withdrew this work from publication however and added new pieces to it using folk music he had collected in the meantime. The first edition was only finally published in 1920. The Bartók scholar László Somfai explains the work’s complicated genesis in his preface. The comments at the close of this edition include important indications regarding performance practice derived from the two recordings that the composer made of several of its pieces in 1927 and1936. The musical text here follows that of the corresponding volume of the Bartók Complete Edition that is currently in preparation. This is yet another highly popular Bartók work on offer from G. Henle Publishers! In a note for the planned first edition of his Hungarian Peasant Songs in 1914 Bartók wrote that “the melodies published here are folksongs in the truest sense of the word; more precisely peasant songs”. Bartók initiallywithdrew this work from publication however and added new pieces to it using folk music he had collected in the meantime. The first edition was only finally published in 1920. The Bartók scholar László Somfai explains the work’scomplicated genesis in his preface. The comments at the close of this edition include important indications regarding performance practice derived from the two recordings that the composer made of several of its pieces in 1927 and1936. The musical text here follows that of the corresponding volume of the Bartók Complete Edition that is currently in preparation. This is yet another highly popular Bartók work on offer from G. Henle Publishers!

String Quintets op. 18 and 87-The genesis of Mendelssohn’s string quintets is closely connected to his friend Eduard Rietz and the latter’s brother Julius. Deeply affected by Eduard’s death in 1832 Mendelssohn exchanged the “Minuetto” movement in his A major Quintet op. 18 written six years previously for a newly composed adagio. It was in this form that the work was finally sent to the publisher. The Quintet in B flat major was only published after Mendelssohn’s death- numerous unauthorized entries by Julius Rietz thus found their way into performance practice. An examination of the autograph allowed us to return the work to ist original form – the commentary contains detailed information on this.? The genesis of Mendelssohn ’s String quintets is closely connected to his friend Eduard Rietz and the latter’s brother Julius. Deeply affected by Eduard’s death in 1832 Mendelssohn exchanged the “Minuetto”movement in his A major Quintet Op. 18 written six years previously for a newly composed adagio. It was in this form that the work was finally sent to the publisher. The Quintet in B flat major was onlypublished after Mendelssohn ’s death; numerous unauthorized entries by Julius Rietz thus found their way into performance practice. An examination of the autograph allowed us to return the work to its original form – thecommentary contains detailed information on this.

Hob. XVII: 4-When he switched from the harpsichord to the fortepiano in the 1780s Joseph Haydn found he had a rich palette of sound colours and dynamic variations at his disposal and he employed them enthusiastically in his C-major Fantasy. This piano piece composed in early 1789 in a “whimsical hour” was intended by Haydn to meet with approval from “both connoisseurs and amateurs” – not least because it is “not too difficult”. Christine Schornsheim provides historically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition and provides an ideal means for players to get to grips with Haydn’s experiments with the sounds of the piano.When he switched from the harpsichord to the fortepiano in the 1780s Joseph Haydn found he had a rich palette of sound colours and dynamic variations at his disposal and he employed them enthusiastically in his C-major Fantasy. This piano piece composed in early 1789 in a “whimsical hour” was intended by Haydn to meet with approval from “both connoisseurs and amateurs” – not least because it is “not too difficult”. Christine Schornsheim provides historically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition and provides an ideal means for players to get to grips with Haydn’s experiments with the sounds of the piano.

Tost Quartets-The chamber music world has been eagerly awaiting this – all of Haydn’s string quartets are finally available in Henle Urtext quality! The last edition to be finished contains the String Quartets op. 54/55 sometimes also known as the “First Tost Quartets”. Contrary to what the opus numbers might suggest it is a cohesive cycle of six works. Mozart’s influence is felt more deeply the forms are more diverse and the first violin is every now and then required to do real acrobatics. In this volume in particular several treasures can be found that are not often played. We are delighted to be able to release this last volume in a total of twelve with its accompanying studyedition.? The chamber music world has been eagerly awaiting this – all of Haydn's string quartets are finally available in Henle Urtext quality! The last edition to be finished contains the String Quartets op. 54/55 sometimes also known asthe 'First Tost Quartets'. Contrary to what the opus numbers might suggest it is a cohesive cycle of six works. Mozart's influence is felt more deeply the forms are more diverse and the first Violin is every now and thenrequired to do real acrobatics. In this volume in particular several treasures can be found that are not often played.

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 movementsto 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 ofhis powers. Haydn even went so far as to call Op. 77 no. 2 his “most beautiful String quartet”.

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: Fantasie für Klavier C-dur op. 17- Arabeske op. 18- Blumenstück op. 19- Humoreske B-dur op. 20- Novelletten op. 21- Sonate g-moll op. 22-Nachtstücke op. 23 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 them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces. Contents: Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23

Corelli Variations op. 42- Rachmaninoff wrote his well-known Piano cycle in 1931 at a time when his great works for Piano solo and the Piano concertos had already made him very famous. Yet it is by no means the “work of an old man”. Thecomposer’s variations on the theme “La folia” (taken from a sonata by Corelli) are like a series of fireworks on the Piano. He once drily said to a friend “All this mad running about is necessary in order to efface the theme”.Did Rachmaninoff succeed in silencing “la folia” – i.e. the “madness”? Why not see for yourself.

When Liszt took over the direction of the Court Opera in Weimar he spent a great deal of time exploring Goethe’s works. He was particularly attracted to the subject-matter of Faust. He used Nikolaus Lenau’s “Faust” a comprehensive poem in 24scenes as the model for his orchestral work in two parts “Episodes from Lenau’s Faust”. The second part “Dance in the Village Inn” was originally written for piano solo. He gave this wild piece which builds up to an almost delirious climax thetitle “Mephisto Waltz”. The piano composition soon spread around the world in its own right and even today is considered to be the quintessential bravura piece. For the first time a version of the piece that was abridged and simplified by Liszt canbe found in the appendix.Mephisto Waltz (The Dance at the Village Inn). Episode from Lenau's 'Faust'. Franz Liszt: Mephisto-Walzer (Der Tanz in der Dorfschenke) Episode aus Lenaus 'Faust'

Sopra La Lontananza Del Frato Dilettissimo BWV 992-Along with his major cycles such as the English and French suites the Goldberg Variations or the Well-Tempered Clavier Bach also left a wealth of single pieces with a great diversity of titles they stem in large part from his early youth and student period around the years 1700-1710. The title of the present work – translated as “Capriccio on the departure of his most beloved brother” – reveals that this is programmatic onomatopoeic music of the kind that was very popular in the 17th and 18th centuries. In its six short and imaginatively-titled movements Bach shows a different side of himself from the usual polyphonist. Perhaps we owe this piece to the departure of his brotherJohann Jacob Bach who entered service in Sweden in 1704. J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece waswritten and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas ofJohann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

Following the first two volumes of Haydn’s string trios in a study score (HN 9424 und 9425) we are now publishing the third and final one. Although Haydn is said to have composed about 60 string trios most of them must be discounted for source-critical and stylistic reasons. The eighteen trios which definitely lay claim to authenticity were published in volumes 1 and 2. The third volume contains eight trios attributed to Haydn although his authorship cannot be proven. In addition to the Urtext edition (HN 628) these charming works are now also available in a handy score format. The musical text is that of the Haydn Complete Edition and it has been complemented by anew and informative preface by the Haydn scholar Sonja Gerlach.? Contains a range of Divertimento pieces arranged for 2 Violins and a bass instrument normally Cello. Preface and comments by Sonja Gerlach.

Edition without fingering-Johann Sebastian Bach was not only an extremely skilled composer but also an ingenious teacher. Even today many piano students learn the basics of technique with his “Inventions” und “Sinfonias” and at the same time the most important elements of “classical” music. Bach called the 15 two-part pieces “Inventions” and the three-part ones “Sinfonias”. He wrote a preface to the musical text dedicating it to “amateurs of the piano but in particular to those who desire to learn”. Bach’s preface and a table with the most common ornaments in the “Clavierbüchlein für Wilhelm Friedemann Bach” are also reproduced in the Henle edition. The complete collection of inventions andsinfonias (HN 64) is also available. Bach's Sinfonias 1-15 (Three Part Inventions) included in this edition were a part of what Bach described as his 'honest method by which amateurs of the keyboard - especially however those desirous of learning - are shown aclear way not only (1) to learn to play cleanly in two parts but also after further progress (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to developthe same well; above all however to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.' This Urtext edition makes use of the latest research and thus is as accurate aspossible. Recommended follow up to Bach's Two Part Inventions also published by G. Henle Verlag HN1169.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart’s piano concertos. His piano reductions are aimed at amateurs rather than professionals- his fingerings for Mozart’s solo part have been exquisitely fine-tuned and are inspiring- and where Mozart’s original cadenzas are missing Schiff’s stylistically perfected ones have been included. In so doing we aspire to set a new precedent. First and foremost Mozart’s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart’s own manuscripts early copies in parts and prints also contain important information regarding themusical text. A co-production with Breitkopf & Härtel Mozart’s piano concertos are not only available as attractive and affordable piano reductions there are also an accompanying Urtext conductor’s score orchestral parts and a study score. Henle Verlag Urtext 2 Piano Score. Piano reductiuon of original orchestral accompaniment.

Goldberg Variations BWV 988-The “Goldberg” Variations are without a doubt the most important piano cycle of the 18th century. Only Beethoven’s “Diabelli” Variations from the 19th century can be compared to them as far their far-reaching significance is concerned. Bach’s ownmanuscript might not have survived but the corrected first printing of the “Aria mit verschiedenen Veraenderungen vors Clavicimbal mit 2 Manualen” (thus the title) has done so. This first edition serves as the primary source for our edition -furthermore the musical text was compared to other sources as for example with Bach’s own record of the “Aria” (not yet referred to as such) in the little notebook for Anna Magdalena .An authoritative edition of Bach's widely celebrated and much-loved Goldberg Variations BWV 988 edited by Rudolf Steglich.