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 one editorial 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 each edition and also dedicated himself to those works that were previously missing from our catalogue. 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 accompanying texts alternative versions and much more besides. 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. Contents: Abegg Variations op. 1 Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834) 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 Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 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 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111

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!

revised edition of HN 293-Unlike other late works by Franck the Violin Sonata of 1886 found a friendly reception among critics and public from the outset. It is dedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless violin technique. Ysaÿe was so inspired by the Sonata that he promised “I will play this masterpiece wherever I can find an artistically-minded pianist”. Nothing has changed to the present day regarding the work’s continuing popularity but it was time to revise Henle’s previous edition to reflect the latest research. In the intervening period it has been shown that Franck was actively involved in reading the proofs for the printed edition meaningthat the first edition which contains many differences from the autograph has become the basis for our new one. The markings of the violin part of our edition are by Yehudi Menuhin Daniel Hope has undertaken the changes required by the revised musical text. Whilst some late works by César Franck have received criticism the Sonata For Piano and Violin In A Major of 1886 found a friendly reception among critics and public from the outset. This work isdedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless Violin technique. Ysaÿe was so inspired by the Sonata that he promised 'I will play this masterpiece wherever I can find anartistically-minded pianist'. Nothing has changed to the present day regarding the work's continuing popularity but it was time to revise Henle's previous edition to reflect the latest research. In the intervening period ithas been shown that Franck was actively involved in reading the proofs for the printed edition meaning that the first edition which contains many differences from the autograph has become the basis for this new one.The markings of the Violin part of Henle's edition are by Yehudi Menuhin; Daniel Hope has undertaken the changes required by the revised musical text.

Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection “Canzoniere”. In these sonnets he expressed his adoration of Laura a mysterious female figure although it is not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume (“Italy”) of his “Années de Pèlerinage” (HN 174). The second Petrach sonnet no. 104 is particularly popular.?Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection 'Canzoniere'. In these sonnets he expressed his adoration of Laura a mysterious female figure although itis not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume('Italy') of his 'Années de Pèlerinage' (HN174). The second Petrach sonnet no. 104 is particularly popular.

Single Edition From Hn 404- This piece is straightforward in its construction but highly advanced in its harmonies and links up with the widely popular 19th-century tradition of the night piece or nocturne forpiano. Its themes and modulations are highly reminiscent of Gabriel Fauré but in its chromatic voice-leading and unusual treatment of metre - such as in the 7/4 central section - Debussy makes a statementall of his own. Nothing is known about the history of its composition. Debussy's 1892 contract with his publisher states merely that the composer had originally called it Interlude but then decided uponthe far more suitable title of Nocturne. One of Debussy's most popular early piano works it is now available in a Henle Urtext edition.

Opus 23 Nr. 4-Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece an ideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings are by Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece anideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings areby Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.

After a twelve-year interval Dvo ák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where agroup of Czech immigrants had settled thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation ofbirdcalls. Since the first performances certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans which led to the soon popular workbeing called the “ American Quartet ”. For the first time since 1955 the Quartet is once again being published in an Urtext edition.

A six-month tour through Spain and Portugal left its mark … Fascinated by the temperamental melodies of the Iberian peninsula Liszt integrated elements of this music into his piano works. The character of the “Rhapsodie espagnole” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-old theme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”)- both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.? A six-month tour through Spain and Portugal left its mark… Fascinated by the temperamental melodies of the Iberian Peninsula Liszt integrated elements of this music into his Piano works. The character of the“ Rhapsodie Espagnole ” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-oldtheme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”); both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.

Piano Sonata a minor op. 42 D 845-Schubert composed his piano sonata in a minor in May 1825 it is one of Schubert’s few piano works that was published during his lifetime. The four movements are expressive but each in its own way: a ballade style in the first piece a songful second movement surging restlessness in the third and eruptive passion in the final movement. Together however they constitute a uniform work. An Urtext edition of Franz Schubert's Piano Sonata In A Minor D.845 Op.42 as edited by Paul Mies with fingering by Hans-Martin Theopold.

Valses oubliées-The “Valses oubliées” belong to Liszt’s late work characterised by themes such as memory sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.?The “Valses oubliées” belong to Liszt’s late work characterised by themes such as memory sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludesto the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s but embed typical melodic and rhythmic clichés from salon waltzes in new harmonicprogressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. This new edition affords pianists an opportunity to discover all four waltzes and their characteristicidiosyncrasies. Valse oubliée Deuxième Valse oubliée Troisième Valse oubliée Quatrième Valse oubliée

This piano sonata – probably Haydn’s last – has unfortunately come down to us without an autograph. The composer in all likelihood offered the work and its publication rights to the London-based pianist Therese Bartolozzi (née Jansen). In any event and no doubt feeling entitled to do so she added the words “Composed expressively for and Dedicated to Mrs. Bartolozzi” before sending it off to print in fact she personally distributed the edition published in London in 1801 in copies with her signature. Like its companion work the Sonata in E-flat major Hob.XVI:52 the C major sonata was written in London in 1794/95 . However its central movement is based on an Adagiothat Haydn had composed in 1793 in Vienna and which Artaria published around 1794. The variants contained in this early version are reproduced as Ossias in our Urtext edition which is based on the text of the Haydn Complete Edition. Joseph Haydn 's Piano Sonata In C Hob. XVI:50 for solo Piano. Suitable for pianists at an advanced level.

Italian Concerto French Overture Four Duets Goldberg Variations-The Clavierübung published in four sections belongs to the few works of Bach that he allowed to be printed during his lifetime. Part I which appeared in print in 1731 contains the six Partitas Parts II–IV were issued in 1735 1739 and 1741/2. These are the parts that form the basis for the compilation that we find in this volume. The Italian Concerto and the French Overture constitute Part II and in a way serve as a kind of echo of French and Italian orchestral music of the time here transposed to the keyboard. The Four Duets are contained in Part III of the Clavierübung next to important works for the organ however since they are conceived for two parts they are idealfor piano or harpsichord. A collection of some of Bachs finest compositions for solo Piano. Includes: Italian Concerto French Overture Four Duets Goldberg Variations.

Piano Sonata A major op. post. 120 D 664-Schubert occupied himself intensively with the sonata form in 1818/19. The results to put it like this led to the creation of this piano sonata in A major probably in summer 1819 thus at about the same time as the Trout Quintet. Not surprisingly it exudes a serene spring feeling. One of Schubert’s major sonatas the work imposes considerable technical demands on the performer but can still be mastered by non-professional pianists. A highly authoritative Urtext edition of Franz Schubert's pastoral Piano Sonata In A D.664 Op.120 posth. as edited by Paul Mies and fingered by Hans-Martin Theopold.

The String Quartets in a Slipcase-On the occasion of Haydn’s anniversary year 2009 we have a particular highlight: all of Joseph Haydn’s 69 string quartets in 12 paperback editions collected together in an extremely affordable slipcase. All of the study scores minutely follow the musical text contained in the uncontested reference edition by the Joseph Haydn Institute in Cologne whose scholarly critical Haydn Complete Edition is also published by Henle Publishers. Each quartet opus reflects the latest in scholarly research and is introduced by an informative preface. The musical text fulfils the highest aesthetic demands. A welcome present for every chamber music fan and the basis for every serious quartetplayer who wishes to play or study these works.? All of Joseph Haydn's 69 string quartets in 12 paperback Urtext study editions collected together in a slipcase. All of the study scores minutely follow the musical text contained in the uncontested reference edition by theJoseph Haydn Institute in Cologne whose scholarly critical Haydn Complete Edition is also published by Henle Publishers. Each quartet opus reflects the latest in scholarly research and is introduced by an informative preface. Themusical text fulfils the highest aesthetic demands. A welcome present for every chamber music fan and the basis for every serious quartet player who wishes to play or study these works.

Carnival of Vienna op. 26-Like many other nineteenth-century musicians Robert Schumann wanted to settle down in the musical capital of Vienna. Though these plans came to naught his stay in Vienna in 1839 gave rise to an entire series of valuable works for the piano including the famous Faschingsschwank aus Wien (“Carnival of Vienna”). Schumann himself called the opus a “romantic spectacle” and it met with a decidedly warm response from the critics: “Flashes of humor appear at every turn- skyrockets of wit and unbridled merriment soar upwards into the skies from all sides.” The first public performance had to wait until 1860 after Schumann’s death when his widow Clara presented Faschingsschwank to aViennese audience. It was not least through this performance that Schumann's music found a home on the River Danube. The brilliant work has rightly remained in the standard repertoire to the present day.? Faschingsschwank Aus Wien (Carnival Of Venice) Op.26 is an exciting yet rather unusual Piano work in five movements composed by Robert Schumann in 1839. Although the structure of this piece is more integrated than a Suite it is not quite a Sonata for Piano. These are five beautifully complimenting movements which will provide an enjoyable challenge for the advancing pianist. This Urtext edition of Robert Schumann's Faschingsschwank AusWien Op.26 provides you with an accurate realisation of the composer's original intentions with thorough and detailed editorial markings and suggestions.

The Serenade op. 41 is based on Beethoven’s Opus 25 for flute violin and viola. Although the version for piano and flute (or violin) did not originate from the composer – but was probably undertaken by the composer Franz Xaver Kleinheinz – Beethoven did however “look through it and substantially improve some passages” as he assured his publishers Hoffmeister &- Kühnel in September 1803. With the accolade “revue par l’Auteur” the arrangement was soon widely disseminated. We are publishing a revised edition of this charming serenade incorporating the latest scholarly Beethoven research (to date HN 301). It contains new extensive texts concerning the genesis and sourcesituation. Works by this publisher are not included in the main catalogue.

The Romance for a melodic instrument and Piano was a very popular genre in French salon music of the nineteenth century. Saint-Saëns also wrote several such pieces for Violin Cello and Horn. His only Romance for Flute was composed in 1871 shortly after the Société nationale de musique had been founded. It was premiered in this new forum for Piano music and chamber works a year later too. In spite of its brevity the piece contains numerous harmonic and melodic refinements which rapidly made it popular among flautists – both in the original setting with Piano accompaniment as well as in the later orchestral version. The Henle Urtext edition is the firstcritical edition of this piece which is also very popular with learners of the Flute.

Chopin’s Polonaise in A major op. 40 no. 1 is better known as the “Military Polonaise”. Indeed the brisk rhythm the “drum roll” in the middle section and the heroic demeanour of the work in general all evoke the world of military music. A favourite for many generations now the work has nevertheless faced a complex source situation the editor must deal with two strands of sources that diverge considerably from one another. Our separate publication of the piece solves this problem masterfully it is based on the musical text of the Chopin anthology of Polonaises (HN 217) and thus offers the typically high-quality and reliable Urtext of G. Henle Verlag.

Piano Sonata F major K. 332 (300k)-The three piano sonatas K. 330–332 were probably written in Vienna or Salzburg in summer 1783 thus many years later than previous Mozart scholarship had assumed. This F-major sonata K. 332 was published in Vienna the following year 1784 together with its two “sisters” K. 330 and 331. Textual differences between the first printed edition and the autograph are so severe that the editor of this Henle Urtext edition has chosen to adopt both the richer dynamic markings of the latter (presented in small print) and the more sumptuous ornamentation from the first edition of the slow movement (in the main text the plainer autograph version is offered there as an “ossia”). One ofMozart’s technically more challenging sonatas especially in the finale.

A revised urtext edition of HN9036 Johannes Brahms ' Piano Pieces edited by Katrin Eich with fingering by Andreas Boyde .