Opus 90-According to Dvorák “good music must also sound good on the piano”. This is why on his publisher’s request he not only wrote the original version of his Dumky-Trio but was also willing to write one for piano four hands. The piano version was supposed to reproduce the musical substance and to make the most of the possibilities afforded by the sound of these two instruments. Dvorák declared that this was a “difficult matter which only I am able to accomplish”. He did indeed succeed admirably. The piano version of the original trio became a work in its own right and takes into account the specific nature of the piano’s sound through its accompanying figures dynamics andarticulation. Aside from this it is also playable – thus a joy for all piano duos! (The original trio can also be ordered under HN 799.)? Henle Urtext Edition of Dvorak's 'Dumky' Piano Trio Op.90 arranged for Piano Four-Hands. German and English language. Edited by Klaus Höge.

Edition without fingering- Bach 4 Duets Bwv 802-805 Pf W/O Fngr

String Quartets Book II op. 9-Six works belong to opus 9 – the first group of Haydn’s string quartets of which we know. The composer also went new ways as far as form was concerned: whereas he had still adhered to the five movement divertimento in the previous quartets opus 1 and 2 in this case he favoured four movements something he continued in the future. Apart from this he also expanded the register and experimented with metric surprises (for instance in the trio of the minuet from the G major quartet). Six works belong to opus 9 – the first group of Haydn ’s String quartets of which we know. The composer also went new ways as far as form was concerned: whereas he had still adhered to the five movement divertimento inthe previous quartets opus 1 and 2 in this case he favoured four movements something he continued in the future. Apart from this he also expanded the register and experimented with metric surprises (for instance in the trio ofthe minuet from the G major quartet).

Bach ’s Harpsichord concerti extremely popular among pianists are presumably reworkings of pieces originally written for the Violin. Bach however succeeded in transferring the diverse idiosyncrasies of Violin technique to the keyboard with such ingenuity that most of today’s pianists also include these concerti in their standard repertoire. The first concerto in d minor is perhaps the most popular – not least because of its jaunty outer movements and the eminently forceful solo part. Now as a prelude to a series of all of Bach ’s Harpsichord concerti G. Henle Publishers presents a Piano reduction and study edition(score) of the d-minor concerto. None other than András Schiff the outstanding Bach expert has provided fingering suggestions.

Mozart’s famous statement to his father concerning this unique and singular quintet for piano and winds scored for piano oboe clarinet in B-flat horn in E-flat and bassoon should not be forgotten: “I myself consider it the best thing I have yet written in my life.” The only relevant source for this new Urtext edition is Mozart’s clean and almost error-free autograph score preserved today at the Bibliothèque nationale in Paris. A page of music with a spurious ending was smuggled into it a fact revealed (and elucidated) for the first time in the present Henle edition.For Piano and Wind Instruments.

Sonatas for Violin and Piano (Harpsichord) 1-3-As Court Music Director in Cöthen Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014–1019 which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here and the sonatas – together with Bach’s flute and viola da gamba sonatas – lay the foundation for the duo sonata in the modern sense as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol supplemented by further sources. Additional text-critical comments round off this valuable Urtext edition.

With this cornerstone of the double bass repertoire we continue a still young but important part of our catalogue. This musically-charming work full of technical trickery is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time we also provide a solo part in fret notation. The piano part in D major and E major (!) can be used to accompany the doublebass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.? With this cornerstone of the Double Bass repertoire we continue a still young but important part of our catalogue. This musically-charming work full of technical trickery is with justification demanded time and again as atest piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time we also provide a solo part in fret notation. The Piano part in D major and E major (!) can be used to accompany the DoubleBass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.

Schubert’s 22 piano sonatas sketch a very illuminating picture of the prematurely departed composer’s compositional path. From the first essays of the gifted young 16- to 19-year old 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 I of the three-volume Henle Urtext edition of Franz Schubert’s piano sonatas contains seven sonatas from the two earlier periods as well which all became known with opus numbers. Only two were published during Schubert’s lifetime. Thebook opens with what is no doubt the best-known sonata of these two periods the A-major Sonata D 664 op. post. 120. Given the length of time between the composition of each – 1817 1823 1825 – the works present a great diversity of forms and expression.

Among Joseph Haydn’s extensive oeuvre is an almost inexhaustible stock of piano sonatas. With altogether over 50 works they form a significant segment of his overall output. One of this composer’s great achievements is that in these sonatas – as in many other genres such as the symphonies and string quartets – Haydn bridges discrepant stylistic eras and lays the founding stone for the classical piano sonata. Volume III stands out for its eleven exceptionally lovely and important pieces. Five of them are in two movements including the often played Sonata in G major Hob.XVI:40. The eleven pieces are basically all masterworks amongst which the e minor Sonata Hob.XVI.34 the E-flat major Sonata Hob. XVI:49 and a second E-flat major Sonata (this one written in England) Hob. XVI:52 deserve special attention. The third volume of Haydn's Piano Sonatas presented here as a study score. This highly accurate Urtext edition has been edited by Georg Feder and fingered by Hans-Martin Theopold.

6 Sonatas for Piano and Violin op. 10 (b)-Weber composed an incredible array of compositions in his rather short but at the same time tireless life. Many of them have still to be discovered. The Six Violin Sonatas op. 10 (b) composed in Darmstadt in 1810 are most certainly amongst them. The individual movements are rather short and also not particularly difficult technically. The music is on the other hand all the more compelling which is partly due to the various integrated dance forms: “Carattere Espagnuolo” and “Air Polonais” in Sonata No. 2 “Air Russe” in No. 3 “Siciliano” in No. 5 and a “Polacca” in No. 6. Weber composed an incredible array of compositions in his rather short but at the same time tireless life. Many of them have still to be discovered. The Six Violin Sonatas op. 10 (b) composed inDarmstadt in 1810 are most certainly amongst them. The individual movements are rather short and also not particularly difficult technically. The music is on the other hand all the more compelling which is partly due to thevarious integrated dance forms: “ Carattere Espagnuolo ” and “ Air Polonais ” in Sonata No. 2 “ Air Russe ” in No. 3 “ Siciliano ” in No. 5 and a “ Polacca ” in No. 6.

for Soprano Solo Instrument and Basso continuo- We do not know very much about Handel ’s compositions on poems by Barthold Heinrich Brockes. We can only date their composition to approximately 1724–1727. The autograph does not shed any light on the titlesnor the sequence of the works. It does not even give the instrumentation. Thus there are several alternatives for the solo instrument that imitates the vocal part – although Violin Flute or Oboe are the most likely. Henle's practical edition not only contains additional parts for the solo instrument and the Bass but also a realization of the figured Bass in the score by the editor Ullrich Scheideler .

Prélude in c sharp minor op. 3 no. 2- Prélude C Sharp Minor Op.3 No.2 is possibly Sergei Rachmaninow 's most famous late romantic Piano work and is now finally available as a Henle Urtext edition. First published in 1892 as part ofthe Piano cycle 'Morceaux de Fantaisie' Op. 3 the work soon became well known abroad in particular due to the concert tours given by the pianist Alexander Siloti Rachmaninow ’s cousin. Even Rachmaninow himselfwas soon no longer able to perform any concerts in America without someone in the audience crying out 'C sharp minor!' at the end. The thundering chords of the final part of this work are legendary and at the same time not asunplayable as one might have been led to believe.

Schubert’s mighty G-major Sonata in the definitive Henle edition (single edition taken from volume 2 of the Piano Sonatas HN 148).?

The Oratorios in a Slipcase-We are marking Joseph Haydn’s anniversary year (the bicentenary of his death) in style. We are not only publishing very affordable study scores of all of his oratorios following the musical text in the Haydn Complete Edition but have also collected them together in a slipcase. Aside from the musical text each volume contains a preface in three languages reflecting the latest in scholarly research and a critical report with key information concerning the sources and textual criticism. These study editions are a feast for the eyes and have been produced with long-term use in mind. All in all a total of almost 2 000 pages of Henle Urtext filled with oratorio artistry at – our giftto the world of music!? Hardback Urtext study editions of all Haydn's oratorios following the musical text in the Haydn Complete Edition collected together in a slipcase. Aside from the musical text each volume contains a preface in three languagesreflecting the latest in scholarly research and a critical report with key information concerning the sources and textual criticism. These study editions are a feast for the eyes and have been produced with long-term use in mind.All in all a total of almost 2 000 pages of Henle Urtext filled with oratorio artistry.

After an early work and a discontinued attempt in 1831/32 Mendelssohn made his breakthrough in this important chamber music genre in the summer of 1839 with the Piano Trio in d minor op. 49 which was to be followedsix years later by the Trio in c minor op. 66. On publication of the first trio Schumann took the opportunity to describe the composer as the “Mozart of the 19th century” whereby he was obviously alluding to the mixtureof Classical and Romantic stylistic elements. The musical text of these two famous Trios has been thoroughly revised to reflect the latest scholarly findings. In addition HN 1297 also includes a Flute part for thealternative version of op. 49 (Flute instead of Violin) that Mendelssohn himself made.

With the publication of the masterpieces K. 593 and 614 all of Mozart’s string quintets are now available in Henle Urtext. Our edition corrects several widespread misreadings of the musical text and also draws on the first printings as important sources. The first printing of the Finale from the Quintet in D major K. 593 diverges greatly from the autograph. The editors consider it probable that the print version was authorized which is the reason why we have published both versions of the movement (to enable a better comparison it is given as an ossia version above the musical text). In the Preface and Comments the editors shed light on the source situation to these twoimmortal works written in the last two years of Mozart’s life.? With the publication of the masterpieces K. 593 and 614 all of Mozart's string quintets are now available in Henle Urtext. The Henle edition corrects several widespread misreadings of the musical text and also draws on the firstprintings as important sources. The first printing of the Finale from the Quintet in D major K. 593 diverges greatly from the autograph. The editors consider it probable that the print version was authorized which is the reasonwhy they have published both versions of the movement (to enable a better comparison it is given as an ossia version above the musical text). In the Preface and Comments the editors shed light on the source situation to these twoimmortal works written in the last two years of Mozart’s life.

for Flute or Violin and Basso Continuo-Telemann’s sonatas published in 1728 are “methodical” according to the meaning of the word in his own day since in addition to the plain melody line given to the soloist in the first movements they also provide an ornamented variant each time. Henle publishers commend this instructive and at the same time very enjoyable music to today’s flautists and violinists. G. Henle's luxurious new publication offers a solo and basso-continuo part in which the two instrumental lines are aligned for orientation plus another part that gives only an unrealised (but figured) bass line. The Henle edition also includes a full score with a stylistically appropriate continuo realisation. Published in 1728 Telemann ’s sonatas are ‘methodical’ according to the meaning of the word at the time of their publication as in addition to the plain melody line given to the soloist in the first movements they alsoprovide an ornamented variant each time. This is instructive and very enjoyable music for today’s flautists and violinists. Henle’s luxurious new publication offers a solo and basso-continuo part in which the twoinstrumental lines are aligned for orientation plus another part that gives only an unrealised (but figured) bass line. The Henle edition also includes a full score with a stylistically appropriate continuo realisation.

Johannes Brahms’s organ works in a sense “frame” his whole oeuvre. He wrote several preludes and fugues and the chorale prelude “O Traurigkeit o Herzeleid” in the mid-1850s at a time when he was making an intensive study of counterpoint. The Eleven Chorale Preludes op. 122 on the other hand are Brahms’s final work composed in 1896 immediately before and after the death of Clara Schumann. This revised Henle Urtext edition presents all of Brahms’s organ works in a single volume following the musical text of the New Brahms Complete Edition and with a preface and a commentary that reflect the latest scholarship. The early versions of two of these pieces are also given in anappendix. Johannes Brahms’s organ works in a sense “frame” his whole oeuvre. He wrote several preludes and fugues and the chorale prelude “O Traurigkeit o Herzeleid” in the mid-1850s at a time when he was making an intensive study ofcounterpoint. The Eleven Chorale Preludes op. 122 on the other hand are Brahms’s final work composed in 1896 immediately before and after the death of Clara Schumann. This revised Henle Urtext edition presents all of Brahms’sorgan works in a single volume following the musical text of the New Brahms Complete Edition and with a preface and a commentary that reflect the latest scholarship. The early versions of two of these pieces are also given in anappendix.

Fantasy Piece in G Minor-Carl Nielsen’s Fantasy Piece for clarinet and piano is an early work written between the ages of 16 and 18 while he was a member of the military band in the Danish town of Odense. With this miniature he gave proof of his mature compositionaltalent on the one hand and of the socialisation through the music of the classic and early romantic eras on the other. With its skilful interconnection of Italianate cantabilità and brilliant suppleness the two-part Fantasy Piece offers a welcomechange in the clarinet repertoire. Our edition is based on the sole surviving source long considered a copy in Copenhagen’s Royal Library which has since been ascertainably identified as an autograph manuscript. Carl Nielsen 's Fantasy Piece In G Minor for Clarinet in Bb and Piano. Henle Urtext edition score. One of Nielsen 's early works Fantasy Piece In G Minor was writtenbetween the ages of 16 and 18 while he was a member of the military band in the Danish town of Odense. With this miniature he gave proof of his mature compositional talent on the one hand and of the socialisation through themusic of the classic and early romantic eras on the other. With its skilful interconnection of Italianate cantabilità and brilliant suppleness the two-part Fantasy Piece offers a welcome change in theClarinet repertoire. This edition is based on the sole surviving source long considered a copy in Copenhagen’s Royal Library which has since been ascertainably identified as an autograph manuscript.

Berceuse for Violin and Piano op. 16-Alongside weighty chamber music works such as piano quartets and violin sonatas Gabriel Fauré also wrote several charming miniatures for violin and piano. Among these is his Berceuse op. 16 in D major which fast became one of his best-known pieces following its first performance in 1880- countless arrangements were published. Its melodic subject matter and colourful writing for the piano are reminiscent of Fauré’s Violin Sonata No. 1 in A major which he had composed shortly before. This Urtext edition is the first edition to make use of the autograph sketches of the original version for violin as well as of the manuscript of Fauré’s own orchestration.?Edited by Dominik Rahmer with supplementary Violin part marked by Frank Peter Zimmermann.