Piano Quartet g minor op. 25-The origins of Brahms‘ g minor Quartet op. 25 go back to the 1850s although the work was not finished until fall 1861. The composer held his new work in high esteem even putting it on the program of his first public appearance in Vienna as pianist and composer one year later. To this day it is the most popular of the three Brahms piano quartets not least because of its dazzling final movement a Rondo alla Zingarese. Johannes Brahms ' Piano Quartet In G Minor for Violin Viola Cello and Piano.

There are still little unknown gems to be found by even the greatest and most famous names in music history. This charming short duo in two movements will delight flautists: Neither flute part is technically very demanding and it is therefore well-suited as easy teaching material. The dedication “for friend Degenharth” (a lawyer amongst Beethoven’s close circle of friends) leaves open whether it was commissioned or a gift. The work was not published during Beethoven’s lifetime but the autograph has survived. Our edition follows the musical text in the Beethoven Complete Edition and offers Urtext in customary Henle quality.?There are still little unknown gems to be found by even the greatest and most famous names in music history. This charming short duo in two movements will delight flautists: Neither flute part is technically very demanding andit is therefore well-suited as easy teaching material. The dedication “for friend Degenharth” (a lawyer amongst Beethoven’s close circle of friends) leaves open whether it was commissioned or a gift. The work was notpublished during Beethoven’s lifetime but the autograph has survived. This edition follows the musical text in the Beethoven Complete Edition and offers Urtext in customary Henle quality.

When Günter Henle founded his Urtext publishing house in 1948 he opened his catalogue with our two-volume edition of Mozart’s complete piano sonatas these still bear the publisher’s numbers HN 1 and HN 2. The four-digit order numbers HN 9001 and 9002 merely designate the reduced-sized pocket scores of these larger reference editions and are textually exactly the same. Naturally both Mozart volumes (large and small) have been revised many times over the years enabling G. Henle Verlag unlike other music publishers to guarantee that they offer a musical text that reflects the most current state of research. Mozart’s autograph manuscript survives for many of the sonatas andfor some works the composer lightly revised and enriched his text before printing which is why the Henle Urtext edition reproduces both versions in such cases. The editor’s preface and Critical Commentary provide detailed information about all sources and textual issues.

für Klarinette (A) 2 Violinen Viola und Violoncello-In 1890 Brahms had actually resolved to stop composing. Fortunately his acquaintance with Richard von Mühlfeld clarinettist of the celebrated Meiningen court orchestra led Brahms to step back from this idea in 1891 and to write together with the Clarinet Trio op. 114 his Clarinet Quintet op. 115 – two of the greatest masterpieces for this instrument. The first public performances in Berlin and somewhat later in Vienna were such a great success that Joseph Joachim acknowledged the Clarinet Quintet as one of the best works that Brahms had ever written. For the present Henle Urtext edition all relevant sources have as always been thoroughly analysed and Brahms’ owncorrections entered too.

Alla Ingharese quasi un Capriccio G major op. 129-The famous Rondo a Capriccio is an example of the lighter side of the composer who is usually labeled as a weighty and earnest master. Written in 1794/95 it was inexplicably left unpublished . This firework of dazzling ideas presents the cheeky theme in ever new variations and ends after two Intermezzi in g minor and E flat major with an exuberant finale.

To celebrate Froberger’s 400th birthday in 2016 Henle Verlag is are presenting an attractive handy volume containing four works from his pen. A toccata a fantasia and a canzona invite us on a musical journey of discovery into his early-Baroque musical world. The volume concludes with his well-known variations “auff die Mayerin” a work that has enabled Froberger’s music to succeed in enthusing pianists as well as harpsichordists of our time. Edited by Froberger expert Peter Wollny this Henle edition will leave no wishes unfulfilled! This collection of Selected Works For Keyboard by Johann Jacob Froberger has been released to mark the occasion of Froberger ’s 400th birthday in 2016. This attractive volume containsfour of Froberger ’s works for Keyboard including a toccata a fantasia and a canzona which invite us on a musical journey of discovery into his early-Baroque musical world. The volume concludes with Froberger ’swell-known variations Auff Ie Mayerin a work that has enabled his music to succeed in enthusing pianists as well as the harpsichordists of our time. Edited by Froberger expert Peter Wollny this HenleEdition will leave no wishes unfulfilled.

In summer 1881 Franz Liszt composed a work that he called “ Valse Oubliée ” (Forgotten waltz) in a letter to his publisher. The work is reminiscent of the appealing Piano waltzes that the composer usedto write when he was younger – although there is a certain distance to the usual waltz style. Liszt by no means renounces virtuosity and elegance but rather infuses these characteristics with nostalgia and irony byembedding typical melodic and rhythmic elements of salon waltzes in innovative harmonically alienating progressions. In the years that followed he wrote three further “ Valses Oubliées ” yet number 1 published here in a single edition has remained the best-loved of these “Forgotten waltzes” by far.

Salut d'amour op. 12 for Violoncello and Piano- Edward Elgar ’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts the work became anenormous success early on. There are numerous arrangements – but the only versions for which the autograph manuscripts survive are those for Violin and Piano (HN 1188) Piano solo (HN 1190) and Violoncello and Piano. Up tonow there has only been an arrangement of the Cello part made by the original publisher presumably with Elgar ’s approval. We are now for the very first time publishing the version following Elgar ’s autographmanuscript which for unknown reasons had never been released. In addition we are publishing the trusted musical text from the first edition.

Trois Pièces pour le Grand Orgue-When the “Palais du Trocadéro” was built in 1878 on the occasion of the World Exhibition in Paris the first large concert organ in France was given pride of place in the “Salle des Fêtes”. Franck wrote his “Trois pièces“ (one of which is the famous “Pièce héroïque”) for this instrument with its 66 stops. The autograph score contains detailed instructions for the use of the stops. When the work was published five years later Franck was already organist at the Ste. Clotilde Church and so the indications in the first edition referred to much smaller organs. Our edition makes the most of the opportunity to give both the musical text for the first edition as well as the originalregistration for the Trocadéro organ. Thus Franck’s ideas for the way this magnificent work was to sound is illuminated in two different ways.? When the “Palais du Trocadéro” was built in 1878 on the occasion of the World Exhibition in Paris the first large concert organ in France was given pride of place in the “Salle des Fêtes”. Franck wrote his “Trois pièces“ (one ofwhich is the famous “Pièce héroïque”) for this instrument with its 66 stops. The autograph score contains detailed instructions for the use of the stops. When the work was published five years later Franck was already organist atthe Ste. Clotilde Church and so the indications in the first edition referred to much smaller organs. This Henle Urtext edition makes the most of the opportunity to give both the musical text for the first edition as wellas the original registration for the Trocadéro organ. Thus Franck’s ideas for the way this magnificent work was to sound is illuminated in two different ways.

for two Violins and Viola-Dvo ák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighbourhood violin lessons he wrote these four little movements for two violins with viola accompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play though with its flowing melodies and spirited rhythms it still offers the best of Dvo ák. It is not surprising that his publisher Fritz Simrock immediately snatched them up when Dvo ák told him in 1887 that he was working on “little bagatelles”. The autograph of the score that contained many corrections nevertheless makes evident just how much hardwork went into these “little bagatelles”. It also served as the engraver’s copy for the first edition. Both these sources were consulted for this Urtext edition that offers today’s players an authentic text of this musical jewel. Dvo ák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighbourhood violin lessons he wrote these four little movements for two violins with violaaccompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play though with its flowing melodies and spirited rhythms it still offers the best of Dvo ák. It is not surprising that hispublisher Fritz Simrock immediately snatched them up when Dvo ák told him in 1887 that he was working on “little bagatelles”. The autograph of the score that contained many corrections nevertheless makes evident just how much hardwork went into these “little bagatelles”. It also served as the engraver’s copy for the first edition. Both these sources were consulted for this Urtext edition that offers today’s players an authentic text of this musical jewel.

The Piano Sonata op. 101 marks the transition to Beethoven’s late works. The composer’s increasing deafness was already manifesting itself in such a marked way that he no longer dared to appear publicly as a pianist. In this sonata he experimented with unusual harmonies broke with form gave detailed German headings for the movements and for the first time also used a note so “unheard of” that it was not even on most of the contemporary pianos: the low counter E. The editors have undertaken a thorough revision of our edition and our catalogue now offers a single edition of this sonata.? The Piano Sonata op. 101 marks the transition to Beethoven's late works. The composer's increasing deafness was already manifesting itself in such a marked way that he no longer dared to appear publicly as apianist. In this sonata he experimented with unusual harmonies broke with form gave detailed German headings for the movements and for the first time also used a note so unheard of that it was not even on most ofthe contemporary pianos: the low counter E. The editors have undertaken a thorough revision of our edition and our catalogue now offers a single edition of this sonata.

Ausgabe für Violoncello-Good intentions are simply not good enough (to freely paraphrase Kurt Tucholsky): the arpeggione a kind of hybrid instrument like a large bowed guitar never won acceptance among musicians. This curiosity of instrumental engineering would certainly have long since been consigned to oblivion had not Franz Schubert of all people composed his A minor sonata for it. This three-movement work is now truly immortal but at the same time presents a problem as an Urtext because the original arpeggione part cannot be performed on those instruments that most closely approximate its sound – clearly the viola or violoncello – without some interventions in the text. G. HenleVerlag solves the dilemma on the one hand by setting the arpeggione Urtext part above the original piano part (score) and on the other by clearly denoting the few necessary octave shifts in the included instrumental parts. Out of the question for the publisher was a transcription for another instrument such as the violin (as was included in Diabelli’s posthumous first edition) flute or other high melodic instrument because these are simply too far removed from the sound Schubert had in mind. At best a contrabass part might still work. Or …? An authoritative urtext edition of Schubert's Sonata In A Minor D 821 for the Arpeggione - also known as the Guitar-Violincello or 'Guitar D'Amour'. This version has been transcribed for Cello and Piano edited byWolf-Dieter Seiffert.

Schumann‘s Papillons op. 2 has been a best-selling item in Henle‘s catalogue for decades. What is special about our revised new edition? First the musical text has been painstakingly compared once again to the two principal sources the autograph manuscript and Schumann‘s personal copy of the printed edition. Moreover the volume is rounded off with a new preface and an updated section of editorial comments. Finally as a special attraction the page layout has been thoroughly revised and a fold-out table allows players for the first time to play all twelve pieces of Schumann‘s famous and highly popular cycle without cumbersome page turns. Being of moderate difficulty Papillons is virtually ideal for use in piano lessons.? Schumann ‘s Papillons Op. 2 has been a best-selling item in Henle‘s catalogue for decades. What is special about our revised new edition? First the musical text has been painstakingly compared onceagain to the two principal sources the autograph manuscript and Schumann ‘s personal copy of the printed edition. Moreover the volume is rounded off with a new preface and an updated section of editorial comments.Finally as a special attraction the page layout has been thoroughly revised and a fold-out table allows players for the first time to play all twelve pieces of Schumann ‘s famous and highly popular cycle withoutcumbersome page turns. Being of moderate difficulty Papillons is virtually ideal for use in Piano lessons.

Poème Opus 72-Scriabin’s ideal of music as part of a synthesis of the arts raising people to a higher level of consciousness is particularly apparent in his late work Vers la flamme op. 72. The poème opens with static rough chords and then slowly but steadily rises from the depths to the bright light above. Diverse levels of sound in changing rhythms gradually move above one another and create a suction-like tension. At the close tremolos and fanfares tower up to a blazing conflagration of orchestral intensity. The Scriabin expert Valentina Rubcova knowledgeably sheds light on this suggestive work in the accompanying texts to our Urtext edition.?Edited by Valentina Rubcova with fingering by Michael Schneidt.

Piano Pieces-Throughout his life Mozart composed individual pieces for the keyboard. This wealth of material offers us an exceptional insight into his musical development. For the first time ever we are now offering all of these works in a single edition. Our edition has been completely revised taking into account the latest findings in Mozart scholarship. In many instances sources which have only recently been made available or which have been newly interpreted have formed the cornerstone of the revision. This has also led to the inclusion of works which were not in the previous Henle edition.? Throughout his life Mozart composed individual pieces for the Keyboard. This wealth of material offers us an exceptional insight into his musical development. For the first time ever we are now offering all of theseworks in a single edition. Our edition has been completely revised taking into account the latest findings in Mozart scholarship. In many instances sources which have only recently been made available or which have beennewly interpreted have formed the cornerstone of the revision. This has also led to the inclusion of works which were not in the previous Henle edition.

Serenade in Eb major K. 375-Late in the evening on his name day in 1781 Mozart was on his way to bed when he suddenly heard familiar sounds coming from outside: the six musicians who had given the première of his Serenade in E-flat major two weeks beforehand and whom he had described as “poor fellows but who can blow together quite nicely” had now met in the courtyard and were serenading him with his own work. Although it was officially composed for The-rese Hickel in actual fact Mozart mainly wanted to impress Emperor Joseph II whose chief of the royal chamber music often went to Therese’s house – “That’s the reason why I also put a little effort into it”. Did it really help? At any rate Mozart wasappointed imperial chamber composer by Joseph II a few years later.? Late in the evening on his name day in 1781 Mozart was on his way to bed when he suddenly heard familiar sounds coming from outside: the six musicians who had given the première of his Serenade in E-flatMajor two weeks beforehand and whom he had described as “poor fellows but who can blow together quite nicely” had now met in the courtyard and were serenading him with his own work. Although it was officially composedfor Therese Hickel in actual fact Mozart mainly wanted to impress Emperor Joseph II whose chief of the royal chamber music often went to Therese’s house – “That’s the reason why I also put a little effort into it”. Didit really help? At any rate Mozart was appointed imperial chamber composer by Joseph II a few years later.

The Seven Last Words of Christ Hob. XX/1B-When Haydn stopped in Passau on his second journey to England he heard a vocal version of his own orchestral work “The Seven Last Words”. It had been made by the Kapellmeister at Passau cathedral Joseph Friebert and Haydn was quite impressed – except: “I believe I could have done the voice parts better”. He acquired a copy and set about making his own vocal version taking over most of the text. Haydn particularly liked his own vocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.?When Haydn stopped in Passau on his second journey to England he heard a vocal version of his own orchestral work The Seven Last Words . It had been made by the Kapellmeister at Passau cathedral Joseph Friebert and Haydnwas quite impressed – except: 'I believe I could have done the voice parts better'. He acquired a copy and set about making his own vocal version taking over most of the text. Haydn particularly liked his own vocal work and itwas also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.

The core repertoire of low string instruments would not be the same without Johann Sebastian Bach’s three gamba sonatas which hark back to other works by him that were originally scored for different performing forces. They all share a strict three-part texture (gamba and two-voice keyboard). Today the sonatas are mostly played on the cello which can assimilate the gamba’s original music unchanged. A superb collection for Viola da Gamba or Violoncello with Piano accompaniment. Set as part of the ABRSM Cello Syllabus.

Henrik Wiese has created a great stir in recent years with his many Mozart editions for Henle. He adheres strictly to Mozart's autograph score allowing only a few sporadic editorial additions and discussing all important questions regarding dating and sources in his preface. As with the horn concertos published to date this volume also includes an extra horn part in F. The piano reduction by Jan Philip Schulze pays heed to the demands of playability while producing a full-voiced piano texture appropriate to the horn.A highly authoritative Urtext edition of W.A. Mozart's Horn Concerto No.2 In E Flat K.417 as edited by Henrik Wiese with Piano Reduction by Jan Philip Schulze. Solo parts for Horn in E Flat and Horn in F are included.

Max Bruch composed these eight highly romantic pieces for his son Max Felix a talented clarinettist. In order to enable the work to be played more widely Bruch arranged the clarinet part for violin and the viola part for cello. Our edition contains both parts plus a transposed version for clarinet in B flat thus allowing it to be played by different combinations of instruments. In addition all of the eight pieces are presented here in an Urtext edition for the first time and in one volume!?Eight pieces for Clarinet/Violin Viola/Cello and Piano. Includes parts for all instruments including two parts for Clarinet (for Clarinet in B and A/B).