Adagio and Allegro op. 70 for Piano and Horn-In 1849 Schumann turned to a new genre: works for piano and an accompanying instrument. The first work he composed were the Fantasy Pieces for Piano and Clarinet op. 73 immediately followed by the Adagio and Allegro op. 70. Clara played the new work together with the horn player E. Julius Schlitterlau writing afterwards in her diary: The piece is splendid fresh and passionate just as I like it! Even Schumann himself was impressed with his new composition. He particularly drew the publisher Kistner’s attentionto the brilliant allegro whose solo part is indeed so virtuosic that opus 70 is one of the showpieces for horn players even today.? Schumann Robert Adagio & Allegro Op70 (Herttrich) Pf/Hn Urtext Pb

When composing his Spanish Dances (HN 1370) the composer and violin virtuoso Sarasate united existing material – folk songs and songs by well-known composers – with his own uniquely charming musical language. The two Dances op.22 “Romanza andaluza” and “Jota Navarra” were completed in 1878 during Sarasate’s first concert tour through Scandinavia. After their initial performances the lyrical “Romanza” soon outstripped its brilliant sister piece inpopularity and thereafter it was one of Sarasate’s compositions that he played most often himself. Since then this piece has lost nothing of its charm and it is now available as a stand-alone edition in the Henle catalogue.

“Miroirs” – Ravel dedicated each of these five piano pieces to a member of the Parisian artistic circle “Les Apaches”. Ravel also belonged to this circle of poets painters and musicians giving first performances of many of his works at gatherings of this illustrious group. In “Miroirs” he went a step further than in “Jeux d’eau”. The music was to sound as if it came from a sketchbook. The bold harmony irritated his contemporaries at first but pointed the way ahead for Ravel’s subsequent works. This famous cycle – it also contains the well-known “Alborada del gracioso” – is now available in Henle Urtext in a particularly clear and larger format with an extensive commentary.?Henle Urtext edition of Maurice Ravel's Miroirs for Piano Solo. German and English language. Edited by Peter Jost.

Russian Quartets-Haydn allowed about ten years to pass before composing a new cycle of string quartets after opus 20: the so-called “Russian Quartets”. This is the first series of quartets that we know he wrote with publication in mind. “They are in a completely new and special manner” he wrote in several letters and he was certainly not just referring to the fact that “Scherzi” replaced the minuets for the first time. Music lovers particularly appreciate the melodic ideas- thus the rich ornamentation of the main motif of op. 33 3 gave the quartet its nickname “Bird Quartet”.?Joseph Haydn's string quartet Op.33 occupy a special place amongst his works for quartet. After not having composed any string quartets for almost ten years this series written in 1781 marked the beginning of a long phase ofcontinuous work on the genre up to the last unfinished Quartet Op.103 in 1803. Moreover they are the first string quartets that we definitely know he wrote with publication in mind. A new contract of service in 1779 not onlypermitted the Kapellmeister at Prince Esterhazy's court to take on external commissions for compositions but also to arrange for the circulation of his works thus generating extra income.

The early Piano Sonata op. 4 offers interesting insights into the young Chopin’s compositional development. In all probability written during his student years at the Warsaw Conservatory and highly prized by Chopin himself the nineteen-year-old composer presented the work to the publisher Tobias Haslinger on a visit to Vienna. But the publisher put off the still unknown composer. It was only when Chopin was at the height of his fame that Haslinger saw a possibility to do business – but this time it was Chopin who declined. Thus his first sonata was never published during his lifetime. To date an inside tip this work is now available for the first time in Henle quality.The early Piano Sonata op. 4 offers interesting insights into the young Chopin's compositional development. In all probability written during his student years at the Warsaw Conservatory and highly prized by Chopin himself thenineteen-year-old composer presented the work to the publisher Tobias Haslinger on a visit to Vienna. But the publisher put off the still unknown composer. It was only when Chopin was at the height of his fame thatHaslinger saw a possibility to do business - but this time it was Chopin who declined. Thus his first sonata was never published during his lifetime. To date an inside tip this work is now available for the first time in Henlequality.

The Well-Tempered Clavier Part I-The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). A detailed commentary rounds off the editions. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions without fingerings and as study editions.The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects ofperformance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). A detailed commentary rounds off theeditions.

Liszt composed this virtuoso work for the dedication of the refurbished organ in Merseburg Cathedral. The manuscript was however only completed after the inaugural concert and the first edition was published in Holland around 1859. Today the work is mainly played in the second version of 1872 which Liszt made at the suggestion of his pupil A.W. Gottschalg. The latter persuaded the composer to somewhat simplify the technical demands which reflected the intentions of the older Liszt. Our Urtext edition comprises the 1872 version- in addition the appendix contains an ossia version of measures 130 –166. The changes between the first and second versions are discussed in thepreface.? Lisztkomponierte dieses virtuose Werk für die Einweihung der renovierten Orgel im Merseburger Dom. Das Manuskript wurde jedoch erst nach dem Festkonzert fertig die Erstausgabe erschien um 1859 in Holland. Heute wird das Werk vor allemin seiner zweiten Fassung von 1872 gespielt die Liszt auf Anregung seines Schülers A. W. Gottschalg erarbeitete. Gottschalg überzeugte den Komponisten die technischen Anforderungenetwas zu vereinfachen was den Intentionen des späten Liszt entgegenkam. Unsere Urtextausgabe bringt diese Fassung von 1872; der Anhang enthält darüber hinaus eine Ossia-Version der Takte 130 –166. Im Textteil werden dieÄnderungen Liszts gegenüber der ersten Fassung kommentiert.

Piano Reduction and Parts for Quintet-It is a bit of a paradox: one of Dragonetti’s favourite pieces and also his 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. For those who would like to study the orchestral version there is also a piano reduction based on a contemporary model. Using this edition the “Famous Solo” can be performed as needed in the solo and orchestral tuning – piano scores and quartetparts in e minor and f sharp minor are also included. It is a bit of a paradox: one of Dragonetti ’s favourite pieces and also his showpiece The Famous Solo originally for Double Bass and Orchestra is largely unknown today. This cannot be down to thevirtuoso 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 StringQuartet for the first time. For those who would like to study the orchestral version there is also a Piano reduction based on a contemporary model. Using this edition The Famous Solo can be performed as neededin the solo and orchestral tuning – Piano scores and quartet parts in e minor and f sharp minor are also included.

Sonatas for Piano and Violin-Johannes Brahms began to manifest a keen interest in the genre of the violin sonata at an early age. In fall 1853 he offered the Leipzig publisher a violin sonata in a minor. The work was turned down however and the self-critical Brahms must have destroyed it himself later. He ultimately wrote his three major sonatas during his years of maturity: op. 78 in the summers of 1878/79 opp. 100 and 108 in the summer of 1886. The Scherzo in c minor was Brahms’ contribution to the violin sonata which he composed jointly with Robert Schumann and Albert Dietrich in 1853 as a surprise gift for the violinist Joseph Joachim and which is known under the name “F. A. E. Sonata.”With its sharp contrasts between the furious Allegro and emotional Più moderato sections the Scherzo piece is a beloved bravura showcase. A highly authoritative Urtext edition of Brahms' Sonatas for Piano and Violin as edited by Hans Otto Hiekel. Piano part fingered by Hans-Martin Theopold and fingering and bowing of Violin part by Karl Rohig.

B-dur Opus 83- Shortly after a rather unsuccessful performance of his Piano Concerto no. 1 Johannes Brahms wrote to Joseph Joachim in 1859: “... a second one will sound different”. Nevertheless a good 20 years elapsed before thatsecond concerto finally took form and only in 1881 was he able to announce: “I wanted to tell you that I have written a very small Piano concerto with a tiny little delicate Scherzo”. This Piano reduction of thisanything-but-little symphonic concerto presents the solo part as it appears in the respective recently published volume of the Brahms Complete Edition (HN 6020). Lars Vogt has succeeded in taming the opulent Piano writing withhis fingerings. The refined arrangement of the complex orchestral part for the accompanying second piano stems from Johannes Umbreit.

Prélude g minor op. 23 no. 5-As indestructible as Rachmaninoff’s C-sharp-minor Prélude (HN1211) may be it is not his only Prélude to have begun a “solo career” of its own: with its rousing rhythms and rhapsodic middle section the famous piece in g minor certainly takesits place among them. Pianists who aren’t yet ready to tackle the complete cycle of 24 Préludes (available as HN1200) can still enjoy Rachmaninoff “at his best” with this work. In conjunction with Moscow’s Glinka Archives Henle was ableto consult the autograph sources for this Urtext edition of the Préludes which means that this single edition thus also benefits from the Urtext’s excellent editorial and graphic quality. As with all of Henles Rachmaninoff editions thefingerings were once again provided by Marc-André Hamelin. As indestructible as Rachmaninoff ’s C-sharp-minor Prélude (HN 1211) may be it is not his only Prélude to have begun a “solo career” of its own: with its rousing rhythms and rhapsodic middle section the famous piecein G minor certainly takes its place among them. Pianists who aren’t yet ready to tackle the complete cycle of 24 Préludes (available as HN 1200) can still enjoy Rachmaninoff “at his best” with this work. Inconjunction with Moscow’s Glinka Archives we were able to consult the autograph sources for our Urtext edition of the Préludes which means that this single edition thus also benefits from the Urtext’s excellent editorial andgraphic quality. As with all of our Rachmaninoff editions the fingerings were once again provided by Marc-André Hamelin.

Who doesn’t know Mozart’s “Sonata facile” of 1788? Yet those who practice this extremely popular piano sonata in C major will realize that it is by no means so “easy” to play. Its nickname does not come from Mozart but from the title page of the first edition which was printed only posthumously. No cause for premature celebration however: in his own autograph catalogue of works Mozart himself identified it as “a little piano sonata for beginners.”

Following his early elimination from the “Prix de Rome” the sought-after award for composition students at the Paris Conservatoire Chausson withdrew to the country in summer 1881 and began composing this ambitious work – out of defiance so tospeak. During his lifetime the trio remained an insider’s tip amongst those close to his teacher César Franck. It was only after its posthumous publication that it was performed more frequently and was gradually recognized as being one of the bestchamber music works of his time. Closely based on Franck’s principle of the cyclic interleaving of all motives it still has dark and melancholy inflections all of its own. The Henle Urtext edition is the first critical edition and a welcome additionto our collection of French music. Ernest Chausson 's Piano Trio In G Minor Op. 3 . Score and parts. Following his early elimination from the Paris Conservatoire's sought-after award for students of composition the Prix deRome Ernest Chausson withdrew to the country in summer 1881 and began composing this ambitious work - out of defiance so to speak. During his lifetime the trio remained an insider's tip amongst thoseclose to his teacher César Franck. It was only after its posthumous publication that it was performed more frequently and was gradually recognized as being one of the best chamber music works of its time. The Piano Trio In G Minor Op. 3 is closely based on Franck's principle of the cyclic interleaving of all motives yet still has dark and melancholy inflections all of its own. The Henle Urtext edition is thefirst critical edition and is a welcome addition to their collection of French music.

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. Our 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 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.

Very few musicians are aware of the fact that Beethoven arranged his violin concerto also as a piano concerto. It is only recently that some pianists have discovered this truly rewarding work. Clementi the London composer and publisher had heard about the première of the violin concerto and probably sensed its potential. He asked Beethoven for a piano version which was actually also published in 1808 at the same time as the original. Several important cadenzas had been especially composed for it- the one for the first movement is accompanied by the timpani – a unique and original touch! Our edition (piano reduction and study score) contains the text from the recentlypublished volume in the Complete Edition of Beethoven’s Works.? Henle Urtext Edition featuring Piano reduction of original Orchestral accompaniment.

Arrangement for Piano four-hands-In order to also promote the circulation of his works outside the concert hall Johannes Brahms made piano arrangements of many of his orchestral works. As the composer he was able to take greater liberties than any other arranger would have beenable to take. And it is precisely due to Brahms’ creative ideas in the piano scoring that his arrangements have enjoyed renewed interest in the music world over the past decades. With this Urtext edition of the Symphonies Nos. 3 and 4 based on themusical text in the Johannes Brahms Complete Edition Henles catalogue now contains all four symphonies in the authentic piano arrangements made by the composer. Once again Andreas Groethuysen has kindly provided the fingerings. In order to also promote the circulation of his works outside the concert hall Johannes Brahms made Piano arrangements of many of his orchestral works. As the composer he was able to take greater liberties than anyother arranger would have been able to take. And it is precisely due to Brahms ’ creative ideas in the Piano scoring that his arrangements have enjoyed renewed interest in the music world over the past decades. Withthis Urtext edition of the Symphonies Nos. 3 and 4 based on the musical text in the Johannes Brahms Complete Edition our catalogue now contains all four symphonies in the authentic Piano arrangementsmade by the composer. Once again Andreas Groethuysen has kindly provided the fingerings.

Thanks to its variety and playfulness the so-called Gastein Sonata is one of Schubert’s most effective essays in the genre posing considerable demands on technique while always lying well under the fingers. Now Henle is publishing this work in an inexpensive single edition taken from volume one of the Complete Sonatas.? An authoritative Urtext edition of Franz Schubert's Piano Sonata in D Op.53 (D850) edited by Paul Mies with fingerings by Hans-Martin Theopold.

Beethoven probably originally planned a complete string duo with four movements. Aside from the introductory movement a minuet has also survived that is likewise published here. Our single edition taken from the established volume “String Trios and String Duos” (HN 192) will certainly secure many new friends for this original work.? Beethoven probably originally planned a complete string duo with four movements. Aside from the introductory movement a minuet has also survived that is likewise published here. This single edition taken from the establishedvolume 'String Trios and String Duos' (HN192) will certainly secure many new friends for this original work.

Sonata for Piano and Viola in E flat major op. 5 no. 3-Johann Nepomuk Hummel (1778–1837) is wrongly remembered first and foremost as Mozart’s pupil. In his day he was one of the most respected pianists and was also a composer with quite some influence on later generations. It is not known when exactly he composed his viola sonata. It was selfpublished in 1798 in Vienna together with two violin sonatas. Numerous reprints including ones in France and England testify to the extraordinary popularity of the sonata both then and today.?Edited by Ernst Herttrich with fingering of the Piano part by Klaus Schilde and supplementary Viola part marked by Tabea Zimmermann.

Fragment- Ludwig van Beethoven wrote his Duo For Violin And Violoncello whilst he was still in Bonn perhaps in 1792 the year he departed for Vienna. It is not known whether he completed his work as only thebeginning of a fast sonata movement has survived. It is on a page in a collection of sketch leaves that is today known as the “Kafka Miscellany”. Robert D. Levin has completed this fragment in the same style and thus for the firsttime it is in a version that can be performed. This Henle Edition contains two performance scores of the lively showpiece thus guaranteeing an optimal duo experience. A welcome addition to the repertoire.