From the outset Johann Wolfgang von Goethe intended music to play a role in his tragedy “Egmont” which takes place during the uprising of the Dutch against Spanish dominion in the 16th century. Ludwig van Beethoven wrote the incidental music for a performance of the tragedy in Vienna’s Burgtheater in the spring of 1810. Unfortunately mostly only the overture is performed in the concert hall. This paperback piano reduction in a reliable Henle Urtext edition now provides the complete incidental music with the song texts. This is an ideal way of getting to know the overture Klärchen’s songs the entr’acte music and the concluding triumphal symphony. We can here admire theinteraction of two geniuses. Piano Score version of Beethoven's indicidental music to Egmont.

Who was “Pauline Countess of Abegg” the dedicatee of the first edition? Nowadays it is known that the matter revolves around a romantic mystification of the name of Meta Abegg a friend from Schumann’s youth whose surname inspired Schumann to a theme on A-B-E-G-G (a-hb-e-g-g). The “rewarding and sparkling piece” – as it was described by a critic of the time – makes high technical demands but is distinguished by a youthful freshness and ingenious virtuosity.With this work (the first incidentally that Schumann deemed worthy of publication) Henle has issued a good third of Schumann’s piano works in revised versions that take account of the current state of research. Thethoroughly-revised musical text is complemented by an informative preface and detailed commentary. Although originally conceived as a virtuoso piece for Piano and Orchestra with a thematically unrelated introduction Schumann's Abegg Variations Op.1 remains an important work in the solo piano repertoire. Full of richtextures sonorous harmonies and extensive passagework this work is an exciting and challenging piece for the advancing and accomplished pianist alike. This highly authoritative Urtext edition of the score provides theclosest representation of the composer's original intentions as edited with critical commentaries by Ernst Herttrich and fingered by Walther Lampe.

Time and again Chopin succeeded in giving different piano music genres their own individual characters whether etudes preludes waltzes scherzi or nocturnes. The Irishman John Field had already composed over 20 nocturnes which presumably greatly influenced Chopin. The latter continued to develop the light song-like piano writing and created works whose dreamy longing atmosphere came to embody Chopin’s music. Our volume contains the works that were published during Chopin’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharp minor – in two authentic versions. Time and again Chopin succeeded in giving different Piano music genres their own individual characters whether etudes preludes waltzes scherzi or Nocturnes . The Irishman John Field had alreadycomposed over 20 nocturnes which presumably greatly influenced Chopin . The latter continued to develop the light song-like Piano writing and created works whose dreamy longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharpminor – in two authentic versions.

Brahms s’acharna pendant des années sur l’écriture de sa première symphonie. Son impuissance face à l’œuvre de Beethoven semblait le paralyser. À ce propos il écrivit d’ailleurs un jour à son ami le chef d’orchestre Hermann Levi: «Je ne composerai jamais de symphonie! Tu n’as aucune idée de ce que cela peut avoir d’impressionnant pour nous d’entendre toujours un tel géant (Beethoven) marcher derrière soi». Brahms y parvint pourtant en octobre 1876 et sa première symphonie donna lieu aussitôt aux premières exécutions – couronnées de succès – à Karlsruhe Mannheim Munich et Vienne. Cette œuvre publiée dans le cadre de notre nouvelle édition complète des œuvres de Brahms faitl’objet ici d’une édition en format d’étude. Dans la préface à cette édition urtext en petit format notre éditeur et spécialiste de Brahms Robert Pascall apporte des informations intéressantes sur la genèse et l’histoire de l’édition de l’œuvre.

Joseph Haydn presumably composed his nine little early keyboard sonatas for the harpsichord. He still gave some of them titles such as “Partita” or “Divertimento”. Their origins reach back into the 1750 and 1760s. A rather short concise form with only one theme in the sonata movement predominates. They are thus optimal works for piano pupils to become acquainted with Master Haydn and his piano oeuvre. The present Urtext edition is based on the Haydn Complete Edition issued by the same publisher. The musical text is reproduced according to the authentic sources where these are no longer extant it is based on the oldest extant source. Nine Little Early Sonatas for Piano solo by Joseph Haydn including Hob.XVI:1 3 4 7-10 G1 and D1. Henle Urtext edition by Georg Feder.

From early childhood Max Reger grew into the tradition of artisanal practical composition in which Johann Sebastian Bach became his role model. Traditional forms such as canon fugue passacaglia and variation gave stable form to his means of expression. But there is also another Reger. In the “Blätter und Blüten” (“Leaves and Blossoms”) whose moods range from the humorous to the melancholic we find a sentimental romantic side to Reger that rarely receives attention. The pieces bear titles such as “Spring Song” “Hunting Piece” “Moment musical” or “Elegie”. Something of Schumann’s melodic charm Brahms’s profundity and Grieg’s folk style resonates here. With this Urtextedition pianists can discover these pieces for themselves. The fingerings are by Helmut Brauss an expert on Reger’s piano music.

C. Ph. E Bach 's Flute Concerto In D Minor Piano reduction with catalogue. Includes a preface in English German and French.

The Seasons-Spurred on by the tremendos success of the “Creation” van Swieten who had written the libretto and comissioned the work prompted Haydn to compose a further large-scale oratorio. At first the composer was not very enthusiastic about the libretto which described the seasons and the worries and joys of peasant life. Following its premiere Haydn spoke of his work with great pride. – During its genesis he had made changes and new versions of different parts several times. Our study edition which follows the scholarly musical text in the Haydn Complete Edition (published in 2007) also contains the most important early versions and sketches in an appendix.?This high quality hardback study edition which follows the scholarly musical text in the Henle Haydn Complete Edition (published in 2007) also contains the most important early versions and sketches in an appendix.

Chromatic Fantasy and Fugue d minor-Bach’s Chromatic Fantasy and Fugue BWV 903 and 903a is one of his most fascinating works. It was apparently already greatly admired during his lifetime for it survives in numerous copies which present some occasionally very different versions especially in the Fantasy. Bach seems to have revised it several times since there is no extant autograph one of these divergent versions of the Fantasy has been reproduced in the Appendix of the Henle Urtext edition.

The Shepherd on the Rock D. 965 for Voice Clarinet and Piano-The Shepherd on the Rock composed in the final year of Schubert’s life was in a certain sense a commission. The opera singer Anna Milder-Hauptmann the fi rst Leonore in Beethoven’s Fidelio had asked Schubert in letters written between 1824 and 1825 to write a grand scene for voice for her. Yet he only finally started work on it in autumn 1828. He used three different poems as the basis for his work combining them to form an equally brilliant and atmospheric musical scene. The clarinet adds to its particular charm sometimes joining in as a soloist at other times following the voice like an echo - ensuring Schubert’s Shepherd a special place in the repertoire even today.? The Shepherd on the Rock composed in the final year of Schubert ’s life was in a certain sense a commission. The opera singer Anna Milder-Hauptmann the first Leonore in Beethoven’s Fidelio had asked Schubert in letters written between 1824 and 1825 to write a grand scene for voice for her. Yet he only finally started work on it in autumn 1828. He used three different poems as the basis for his work combining them to form an equally brilliant and atmospheric musical scene. The Clarinet adds to its particular charm sometimes joining in as a soloist at other times following the voice like an echo - ensuring Schubert ’s Shepherd a special place in the repertoire even today.

String Quartet a minor op. 132-Attention string quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with op. 131 in c sharp minor and op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. The editor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late string quartets are scheduled for subsequent publication in the Gesamtausgabe.Franz Beyer the authority on string quartets with regard to this new issue: The most significant edition over the last twenty years worldwide! Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven ‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Urtext Edition-In the Classical period and well into the 19th century piano trios were something of a musical fashion accessory. There was thus good reason for Beethoven also to engage with the genre following the example set by Haydn and Mozart. He left 13 piano trios in all. +B107The works contained in Volume III almost all present a few peculiarities: opus 44 is also not a complete trio for instance but consists of only one single variation movement! WoO 37 written while Beethoven was still in Bonn is striking for its scoring (piano flute and bassoon). He wrote WoO39 for Maximiliane youngest daughter of the Brentano family “to encourage her piano playing”. Op. 38 is anarrangement of the Septet op. 20 for piano clarinet and violoncello and the last piece has come down to us only in one sketchbook from Beethoven’s Bonn period. None of these works has the weight of Beethoven’s major piano trios nevertheless they remain witnesses to his supeme artistry.

Piano Sonatas Volume 2-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician 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 II of the three-book Henle Urtext edition contains not only the G major Sonata D 894 op. 78 with its glorious piano writing full of delicate expressiveness but also the three great sonata masterpieces in c minor A major and B flat major with which Schubert looks far into the future and which have long since taken their place in the classical canon of piano sonata literature. Paperbound edition Sonata G major op. 78 D 894 Sonata C minor D 958 Sonata A major D 959 Sonata B flat major D 960

This “No. 1” of Mozart’s eighteen total piano sonatas is nevertheless not the very first one that he composed. It is well known that the “Wunderkind” Mozart had previously written at least four piano sonatas (K. Anh. 199–202) though these have never surfaced. And the sequence 1–6 of the piano sonatas K. 279–284 which were probably composed in Munich at the beginning of 1775 is based solely on Mozart’s retroactive numbering of them (with just the manuscript of the first movement of the first sonata having been lost). In the family correspondence these six sonatas are incidentally characterized many times as the “difficult sonatas.” That can scarcely be meant in atechnical sense but as the editor of the Henle Urtext edition Ernst Herttrich surmises might rather have alluded to their enormous “aesthetic interpretive demands ” given that “Mozart furnished … the six sonatas with exceptionally rich dynamic and articulation markings … more than any of his previous works.” Henle Verlag Urtext Edition of Mozart's Piano Sonata In C KV.279 .

This “little” D-major sonata is somewhat the pansy (or violet?) among Mozart’s eighteen piano sonatas. It is “little” in dimensions when compared to the two other sonatas in the same key of D major (K. 284 and especially K. 576). It is very seldom heard in concert and in piano lessons too is played less frequently. Admittedly it is not enveloped by the tragic gloom of the Sonata in A minor K. 310 nor does it have a wonderfully heartfelt slow movement like the Sonata in C major K. 309 these being the two works with which it was printed in Paris in 1778. K. 311 however is pianistically “worthwhile” in many regards: in the opening movement one can practice several standardtechnical challenges (hand-crossings effervescent runs parallel sixths tremolos at large intervals etc.). The slow movement (“Andante con espressione”) hones expressiveness something that does not always come naturally to many keyboardists (a compositional trick also makes a surprise appearance at bar 25). With its lively 6/8 meter the finale in turn recalls not only the veritable “Hunt Sonata” K. 576 but could almost have come from the solo part of a Mozartean piano concerto. All in all: a worthwhile challenge this sonata which sounds much harder than its technical demands require.

Piano Sonatas Volume III (Early and Unfinished Sonatas)-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician 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. The intensity with which Schubert approached the genre of the piano sonata meant that he left a large number of piano sonatas incomplete. Volume III of the three-part Henle Urtext edition contains – next to the earlysonatas from the years 1815-1818 – the fragments completed by Paul Badura-Skoda whose completions are highlighted each time by small cue notes. The Critical Report in the Appendix also provides precise information about the genesis of the individual works.

String Quartet no. 1 in e minor-When Smetana completed his Quartet in e minor in dark and dismal colours in 1876 he had already been completely deaf for two years. Which musician is not familiar with the fateful passage in the fourth movement in which Smetana symbolizes the beginning of his illness with a violin note in an extremely high position? The previous movements tell of happier times in his life- an extensive extract from a letter about this is cited in the preface to our edition. Smetana who at the time received a ridiculously small fee from his publisher could not foresee that this work would later be considered one of the most famous string quartets of all time.

Revised edition of HN 1064 without fingerings-Bach’s Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection Bach himself called it an “Instruction” which teaches students and keyboard lovers to “treatcorrectly” both two and three voices to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. To this end Bach created timelessly beautiful music which has lost nothing of its relevance to usnearly 300 years after its creation. We are now presenting a new edition of this classic collection which draws upon all known sources and offers the best in “instruction” especially with respect to the transmitted embellishmentvariants. The new Bach – ideal for pianists of every age

The single editions of Schubert's three a-minor sonatas and the little A-major sonata are now joined by the c-minor sonata thereby completing Henle's series of the late piano sonatas in affordable offprints from the reference edition (Schubert Piano sonatas II HN 148).? A highly authoritative Urtext edition of Franz Schubert's Piano Sonata In C Minor D.958 as edited by Paul Mies and fingered by Hans-Martin Theopold.

Version for Double Bass and String Quartet-It is a bit of a paradox: one of Dragonetti’s showpiece “The Famous Solo” originally for double bass and orchestra is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its different versions. In this edition Tobias Glöckler presents Dragonetti’s autograph arrangement for double bass and string quartet for the first time. Once Dragonetti 's showpiece 'The Famous Solo' is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its differentversions. In this Henle Urtext edition Tobias Glöckler presents the composer's autograph arrangement for Double Bass and String Quartet for the first time.