Élégie for Violoncello and Piano op. 24-Following the enthusiastic reception of his first Violin Sonata (HN 980) it was clear to Fauré that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as the slow movement for a sonata. However Fauré gave up the sonata project instead publishing the piece under the title “Élégie”. It was so successful that Fauré was urged by the publisher to write further pieces. The conductor Édouard Colonne commissioned a version of the “Élégie” for orchestra in 1895 which was premièred two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.Following the enthusiastic reception of his first Violin Sonata (HN980) it was clear to Fauré that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as theslow movement for a sonata. However Fauré gave up the sonata project instead publishing the piece under the title Élégie . It was so successful that Fauré was urged by the publisher to write further pieces. Theconductor Édouard Colonne commissioned a version of the Élégie for orchestra in 1895 which was premièred two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.

In his collections of Impromptus and Moments musicaux Franz Schubert impressively showed at the end of his life how a lyrical songlike form can be rendered on the piano. In spite of their simplicity his popular Impromptus op. 90 for example prove themselves to be consummate works of art and number among the most beloved pieces of Romantic piano music. The first Impromptu in c-sharp minor from op. 90 which we present here as a separate edition virtually fantasises over a single incessantly recurring melody. Its march-like character is sometimes particularly emphasised sometimes lyrically obscured. With its grim majesty and enchanting fluctuations between major andminor as it roams harmonic expanses this music lets pianists immerse themselves in Schubert’s world of sound. This Henle Urtext provides a well-founded accurate musical text for these pieces.

London with its bustling musical scene always provided Haydn with welcome surroundings at a time when the flute was extraordinarily popular among English amateurs. The Earl of Abingdon an accomplished flautist undoubtedly enjoyed playing these entertaining trios. Abingdon was a member of Haydn’s circle of acquaintances in London and a composer in his own right: a theme from one of his songs (“The Lady’s Mirror”) served Haydn for a set of variations in the second trio. Neither men could have foreseen the huge success that these cheerful and straightforward pieces would enjoy among music-lovers all over the world.? London with its bustling musical scene always provided Haydn with welcome surroundings at a time when the Flute was extraordinarily popular among English amateurs. The Earl of Abingdon an accomplished flautist undoubtedly enjoyed playing these entertaining trios. Abingdon was a member of Haydn ’s circle of acquaintances in London and a composer in his own right: a theme from one of his songs (“The Lady’s Mirror”) served Haydn for a set of variations in the second trio. Neither of the men could have foreseen the huge success that these cheerful and straightforward pieces would enjoy among music-lovers all over the world.

The opus number of Beethoven’s Easy Piano Sonatas op. 49 is misleading. The pieces were written not long after the Sonatas opp. 2 and most likely – in part at least – before his Sonata op. 7. Sketches can be found in the “Kafka Miscellany” sketchbook which Beethoven used for several years both in Bonn and subsequently in Vienna until the late 1790s. The second sonata seems to be the earlier of the two. The composer also reprised the theme of the second movement Tempo di Menuetto for the Menuet in the Septet op. 20. It is one of his best-known piano pieces which just about every budding pianist encounters early in his lessons.A highly accurate Urtext edition of Ludwig Van Beethoven's Piano Sonatas Op.49 Nos.1 And 2 as edited by Bertha Antonia Wallner and fingered by Conrad Hansen.

Complete Songs for Voice and Piano Volume I-Beethoven’s importance as the creator of monumental orchestral works and of substantial chamber music and solo sonatas is so great that his rich song oeuvre is often hardly even noticed. But his Lieder offer a highly entertaining repertoire in which love songs and humorous songs alternate with serious pieces of philosophical or religious subject matter. Goethe Claudius Herder Lessing Gellert and Rousseau are among the authors whose poems he set. In this way we are offered a panorama of the waning 18th and incipient 19th centuries with a specific blend of feeling for nature Enlightenment thought and religious sensibility. This Henle Urtext edition in two volumes which isbased on the Beethoven Complete Edition also contains those songs which were rediscovered long after Beethoven’s death and were therefore hardly known for a long time. A detailed preface on the history and source situation of Beethoven’s art songs rounds off this edition.

Wilhelm Friedemann Bach was Johann Sebastian Bach’s eldest son and more closely linked to the spirit of baroque music than were his younger brothers. In our anthology of three keyboard sonatas two fantasias and a suite the keyboard composer stands on the threshold of freer forms and harmonies. The Suite in G minor is still informed by the baroque. The two Sonatas in D major with their galant capricious idiosyncrasies demand great attentiveness from the player while the E flat major Sonata published in 1748 already anticipates Haydn in the elaboration of its themes. In the Fantasias in a minor and c minor the liberating powers of the time seem to take hold. Thefingerings in the present Urtext edition are by pianist and veteran pedagogue Klaus Schilde whose name has appeared on numerous G. Henle editions.

Twelve Fantasias for Flute Solo TWV 40:2-13- Georg Philipp Telemann 's 12 Fantasias for solo Flute. Aside from the Partita in A minor by Johann Sebastian Bach (HN457) and the Sonata in A minor by his son Carl Philipp Emanuel (HN555) it wasalso mainly Telemann ’s 12 Fantasias that enriched the solo Flute repertoire in the first half of the 18th century. Telemann ’s cycle evidently had a great influence on the flautist’s world.The composer had his Fantasias published in 1727 (he might even have engraved the edition himself). The work was soon considered to be exemplary and caught on. This Henle Urtext edition is based on Telemann ’s print which has been reproduced as a facsimile in the edition. The Flute expert Rachel Brown has provided a commentary with details regarding performance practice.

In March 1848 Liszt took up residence in Weimar with his new partner Princess Carolyne Sayn-Wittgenstein thus entering a more settled period. Not least encouraged by his partner he turned his back on his career as a virtuoso and started concentrating on composing- in summer 1848 he finished work on the studies known today as Il lamento La leggierezza and Un sospiro. Unlike Liszt’s early studies that concentrated more on piano technique the new concert studies are dominated by poetic ideas and tonal concept. They are often played in recitals and number amongst the compulsory pieces at music conservatories and piano competitions.A set of three piano studies composed by Franz Liszt in 1848. Similar to Chopin’s Etudes they address some basic problems of piano technique within a poetic context. Available here is a highly authoritative Urtextedition of Liszt’s Trois Etudes de Concert as edited by Rena Charnin Mueller and Wiltrud Haug-Freienstein with original fingering by the composer.

Complete Edition. Paperbound with critical report.

The great D major sonata for two pianos K. 448 is – of course – the absolute showpiece of this Urtext edition. The first movement opens like an operatic overture with timpani and trumpets the Andante is a single grand melody shared between the two pianos and the sublime rondo finale comes across like a piano concerto without orchestra. But another important work can be found in this Henle edition too: the earnest C minor fugue for two pianos K. 426 reminiscent of Handel’s or Bach’s great art here in its original form from 1783. Mozart published it soon after in a four-part version for string quartet adding a beautiful freshly composed Adagio introduction. This in turn has been rescored in our edition for two pianos by the brilliant musician Franz Beyer who also has completed a performable version of Mozart’s two-piano “Larghetto and Allegro” in E-flat major (a work not included in Köchel’s catalogue) from the surviving fragments. Two copies are required for performance of all the works in this volume.

Franck wrote almost all of his important works in his later years. This almost 20-minute-long cycle from 1884 is his best-known piano composition and is often played on concert platforms to this day. Although Franck himself was a very proficient pianist his musical roots are in organ music which also supplied the inspiration for his piano output. Henle Urtext Edition of a Prélude Choral et Fugue for Piano solo composed by Cesar Franck edited by Ernst-Gunter Heinemann.

Franz Schubert’s Piano Sonata op. 143 in a minor was composed in 1823 after his large “Wanderer Fantasy”. With its formal cohesion and mature originality this a-minor Sonata initiated a new phase in Schubert’s sonata oeuvre. The composer dispensed here with all pianistic brilliance. At the same time a wealth of colour and of sonorities triumphs in such a manner that the work numbers among Schubert’s most frequently played sonatas. For this Urtext edition we had at our disposal the composer’s autograph as the authoritative source the posthumous first edition was consulted only by way of comparison.

It is hardly a coincidence that Chopin dedicated each of his Three Waltzes op. 64 written in 1847 to a baroness or countess: aristocratic ladies offered the ideal public for this music both as performers and as hostesses of musical events. This c-sharp minor Waltz in a Slow Tempo dedicated to his student the Baroness Charlotte de Rothschild soon surpassed such social barriers With its soulful sighing motif it ranks today as one of Chopin’s most popular melodies. An Urtext edition of Frederic Chopin's Waltz In C Sharp Minor Op.64 No.2 as edited by Ewald Zimmermann with fingering by Hans-Martin Theopold.

Johannes Brahms’ late piano works in the form of the two editions HN 36 (paperbound) and 37 (clothbound) have been a cornerstone of the Henle catalogue ever since the early 1950s. In 2011 the volume with piano pieces (HN 6014) was published in thenew Brahms Complete Edition an edition of these important works that reflected the latest in scholarly research. Having already published single volumes of our Urtext editions of opus numbers 76 79 and 116–119 with the up-to-date musical text inthe Complete Edition we are now rounding off this Brahms project by publishing the revised volume of collected works available as a classic paperbound clothbound or handy study edition. An open invitation to all those who wish to immersethemselves in Brahms’ fascinating piano cosmo Johannes Brahms ’ late Piano works in the form of the two editions HN 36 (paperbound) and 37 (clothbound) have been a cornerstone of the Henle catalogue ever since the early 1950s. In 2011 the volume with Pianopieces (HN 6014) was published in the new Brahms Complete Edition an edition of these important works that reflected the latest in scholarly research. Having already published single volumes of the Urtext editions ofopus numbers 76 79 and 116–119 with the up-to-date musical text in the Complete Edition Henle are now rounding off this Brahms project by publishing the revised volume of collected works available as a classicpaperbound clothbound or handy study edition. An open invitation to all those who wish to immerse themselves in Brahms ’ fascinating Piano cosmos.

Schumann kept coming back to variation form. He often wrote his own variations in contrast to those on popular (operatic) themes with which piano virtuosi of the time flooded the market. The “Impromptus” were written with the desire that they “should be seen to be variations of a new form” – he even skilfully joined two themes together. Although Franz Liszt had been very positive about them Schumann later again made a great many changes to his Opus 5. The “Impromptus” are now appearing – in both versions – in our catalogue for the first time as always with an informative accompanying text.? Schumann Impromptu Op.5 Pf 1833 1850

13 well-known original pieces in progressive order of difficulty with practical comments-At the piano with Mendelssohn – everyone naturally thinks first of his wonderful Songs without Words from which we have chosen a varied selection here. But there are other pieces in this volume that are no less fascinating such as several of his enchanting children’s pieces which belong alongside Robert Schumann’s Kinderszenen. In compositions such as the Prelude in f minor we can also discern the love that Mendelssohn the German Romantic bore for the polyphony of J. S. Bach.At the piano with Mendelssohn – everyone naturally thinks first of his wonderful Songs without Words from which we have chosen a varied selection here. But there are other pieces in this volume that are no less fascinating suchas several of his enchanting children’s pieces which belong alongside Robert Schumann’s Kinderszenen. In compositions such as the Prelude in f minor we can also discern the love that Mendelssohn the German Romantic bore for thepolyphony of J. S. Bach.

This hit is even popular among learners! Now it opens Henle’s new series of Weber’s works for clarinet and orchestra in piano reduction. This edition includes two separate parts: the urtext of Weber’s version and the widely known version by Carl Bärmann.? This 'hit' is even popular among learners! Now it opens Henle’s new series of Weber ’s works for Clarinet and Orchestra in Piano reduction. This edition includes two separate parts: the urtext of Weber ’sversion and the widely known version by Carl Bärmann.

Violin Sonatas Fragments- This Urtext edition contains rewarding discoveries for all lovers of Mozart . Mozart left behind a total of eight unfinished works for Piano and Violin predominantly discontinued sonata movements. Themusic is so wonderful that Henle have published a separate volume with this group of works – all of which (aside from a fragment in the appendix of this edition) have been completed so that they can be performed. They notonly include the familiar completed versions by Maximilian Stadler but also new ones by Robert D. Levin. He has contributed five each of which is full of Mozartian spirit. A preface with a critical report presents the facts indetail and incorporates the most recent scholarly findings. Benjamin Schmid and Ariane Haering have provided fingerings for this edition that is in every sense unique.

Piano Variations-Though 18 piano sonatas is a respectable amount for any composer Mozart also left almost as many – namely 15 – variation cycles. Variations on popular themes but also on original tunes were a kind of fashion craze back then and Mozart made his contribution in this field as well. Certainly financial considerations played a role here after all fashionable items sell well. Thus Mozart’s variations in contrast to his piano sonatas were all published during his lifetime. The fact that these were articles of taste did not mean that they were not of the finest quality especially with Mozart. In these variations a wealth of imagination and stylish elegance come together forjoyful music-making. One should not underestimate them but simply take pleasure in these wonderful works. This study edition reproduces the complete and unaltered text of blue Henle Urtext performance edition HN 116.

Fassung Fur Violine-In 1849 Schumann endowed three wind instruments with chamber music works: the clarinet with the “Three Fantasy Pieces” op. 73 the horn with the “Adagio and Allegro” op. 70 and the oboe with the present “Three Romances” op. 94. However the “Three Romances” for oboe also appeared on the market at that time with a solo part for violin or clarinet. Violinists are certainly very happy that G. Henle Publishers have followed this idea of an alternative scoring. The manuscript which Robert presented to his wife Clara as a Christmas gift in 1849 has not been preserved. However it was possible to consult autograph drafts for our Urtext edition which helped rectify many of theincongruities of the 1851 first edition. Originally for Oboe and Piano arranged for Violin and Piano in this version.