15 well-known original pieces in progressive order of difficulty with practical comments-Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for a guided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for the piano. Naturally they are presented superbly in true Urtext.Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for aguided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for thepiano. Naturally they are presented superbly in true Urtext.

Piano Sonata in d minor K.9 L.413-“Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language. “Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord thesepieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of themost popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language.

Did Mozart intend this work to be a duo for two bass instruments or – as the simple basso-like manner of the second part suggests – a sonata for bassoon and keyboard instrument? We will probably never know the answer because the autograph has gone missing. Our edition allows different instrumentation- it not only contains scores for the duo version but also one so it can be performed as a solo bassoon sonata following the style of the time with a figured bass realization. And cellists – who are not blessed with many works by Mozart – will appreciate the version of this endearing work for cello and figured bass.?Authoritative Henle Urtext Edition of Mozart's Sonata In B Flat K.292 for Bassoon Cello and Continuo.

Trio in d minor op. 3- Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier inspired hit the Trio For Clarinet Op. 3 written in 1896 owes agreat deal to Zemlinsky ’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who following its first performance in Vienna enthusiastically recommendedthe trio to his publisher Simrock. As the autograph has disappeared Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous partly blatant engraver’serrors. Alongside the Piano score Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.

Which of his pupils did Haydn have in mind when he composed his humorous “Divertimento à due per il Clavicembalo solo”? It was written at a time when works for piano four-hands were still the exception – and instead of “Primo” and “Secondo” the oldest copies use the terms “La parte del Maestro” and “dello Scolare”. Haydn’s wit keeps surfacing- for instance in the idea that the teacher plays first then the pupil and in the last bars of the variation movement the hands of the players cross over without their being any musical necessity for this. Haydn’s sole work for piano four hands is now published in a revised edition based on the volume that has just appeared in the HaydnComplete Edition (HN 5501 and 5502). It is an excellent work for educational purposes but will also provide good sightreaders with a great deal of pleasure.? For Piano duet.

Villanelle for Horn and Piano-Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshing melodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn and piano: the later version with orchestralaccompaniment does not stem from the composer. Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshingmelodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn andpiano: the later version with orchestral accompaniment does not stem from the composer.

This rousing Polonaise which is preceded by a nocturne-like Andante was originally a work for piano and orchestra. It was written at the same time as Chopin’s two piano concertos in e minor and f minor and breathes the same fresh youthful spirit. Since the orchestral part is subordinate and fulfills only an accompanying function the Polonaise lends itself brilliantly to performance as a solo piano piece and indeed is almost always performed as such in today’s concert halls. In this spirit – and following the first editions – our Urtext edition is laid out not as a piano reduction (with two piano systems) but contains only the solo part at those few passages where thesolo piano rests the orchestral accompaniment is reproduced in small print. Henle Urtext Edition completed by Ewald Zimmermann.

Composed in Vienna in 1838 along with several other shorter pieces Schumann’s Arabesque has found a permanent place in the general piano repertoire. It may owe its lightness and grace to Schumann’s urge to rise up and become the favorite composer of all the ladies of Vienna. As a result the Arabesque is a prime example of entertainment music in the best sense of the word. The musical text of this new edition has been thoroughly revised and provided with an informative preface and editorial notes.Schumann’s Arabesque in C Op.18 is a delightful and sincere work and though often a favourite of the virtuosi is much loved among amateur pianists. This piece is full of character unfolding with a light and skippingtheme which later develops to evoke a pastoral and nostalgic tone. Available here is a highly authoritative Urtext edition of the score which presents and accurate realisation of the composer’s original intentions asedited with critical commentaries by Enrst Herttrich and finger by Walther Lampe.

Now for the first time Henle publishes an urtext edition of this famous violin concerto (it is also the first German edition). The detailed preface provides exhaustive information on the work's genesis and sources. Ernst Schliephake has sought the advice of Ruggiero Ricci for the fingering and bowing marks and Johannes Umbreit has revised the composer's estimable piano reduction to make it more playable and to meet the main requirement of an urtext edition: maximum fidelity to the original orchestral score.?An authoritative urtext edition of Saint-Saens' Violin Concerto No.3 Op.61 for Violin with Piano reduction. Edited by Peter Jost.

In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “Slavonic Dances” led to his international breakthrough. “Furiant” “polka” “soudeská”: all are written with consummate mastery and dazzling formal sophistication. Although the “Slavonic Dances” also became popular in orchestral arrangement they were originally written for piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honor the centennial of his death we are presenting his original version with a detailed commentary on the work’s sources and editorial problems.The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon to performers everywhere.? In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “ Slavonic Dances ” led to hisinternational breakthrough. “ Furiant ” “ polka ” “ soudeská ”: all are written with consummate mastery and dazzling formal sophistication. Although the “ Slavonic Dances ” also became popularin orchestral arrangement they were originally written for Piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honour the centennial of his death we are presenting hisoriginal version with a detailed commentary on the work’s sources and editorial problems. The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon toperformers everywhere.

Sonatas op.120 for Clarinet and Piano-In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl adding “It would be really wonderful if you brought your B flat clarinet with you and if you were in no great hurry” – for thetwo Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: “The sonatas [...] are wonderful and will cause a great sensation”. This edition of thiswork today part of the clarinettist’s core repertoire continues the revision of Brahms’s Duo Sonatas following the text in the new Brahms Complete Edition. In 1894 Johannes Brahms asked the clarinettist Richard Muhlfeld to visit him during his beloved summer sojourn in Ischl adding It would be really wonderful if you brought your B flat Clarinet with you andif you were in no great hurry - for the two Sonatas Op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: Thesonatas [...] are wonderful and will cause a great sensation. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the Clarinet repertoire.

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!'

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 all subsequent composers measured themselves. Yet Beethoven initially oriented himself on the great masters Haydn and Mozart. Thus his Second Symphony in D major op. 36 of 1800–02 stands between the tradition of these masters and his own later innovations. For study purposes G. Henle here presents the Second Symphony in a small format score. It follows the musical text of the Beethoven Complete Edition. The specialist press wrote: “Quite apart from the critical merits of this edition ... it is a pleasure to readthese study scores owing to the brilliant typography and the generous yet clearly laid-out format”. Study Score

Ausführlicher Kritischer Bericht (nicht in der Druckausgabe enthalten) zum kostenlozen Download- A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata In A Major (with the enduring “Turkish March”) surfaced inBudapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (thenew autograph does not contain the complete sonata). It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study thissonata without consulting our Urtext edition.

Revised edition of HN 1169 without fingerings-All piano students are familiar with Bach’s two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to expressusing only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts to “achieve a singing style in playing” and to“acquire a strong foretaste of composition”. We are now presenting a new edition of this

Chromatic Fantasy and Fugue d minor BWV 903 and 903a-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. Bach Chrm Fntsy Fg Bwv903 Pf W/O Fng

In Schumann’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for piano they remained unpublished at first. It was only after the resounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced by this. Some of the altogether 34 pieces were finally published under the title “Coloured Leaves” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version of this edition to reflect the latest inscholarly research. In Schumann ’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for Piano they remained unpublished at first. It was only after theresounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced bythis. Some of the altogether 34 pieces were finally published under the title “ Coloured Leaves ” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version ofthis edition to reflect the latest in scholarly research.

Combining a piano concerto and a cantata in one work is an undertaking that requires true mastery. Ludwig van Beethoven succeeded in this with his “Fantasy for piano chorus and orchestra” in C minor op. 80 composed in 1808. Since the melody of the “Ode to Joy” from the finale of his Ninth Symphony can be heard here “in ovo” the Choral Fantasy is also referred to as the “Little Ninth”. This score edition of the work is supplemented in our handy study edition by the concert overture “Meeresstille und glückliche Fahrt” (“Calm Sea and Prosperous Voyage”) op. 112 and other short orchestral works (opp. 118 121b 122 WoO 95). This edition in the quality one expects of an Urtext offers the full musical text of the Beethoven Complete Edition. Also includes Op. 112 118 121b 122 WoO 95.

Felix Mendelssohn Bartholdy 's Piano Trio Op. 49 . Additional Flute part.

String Quartet-Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicians who were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as “1er Quatuor”- showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicianswho were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as“1er Quatuor”; showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.