Originally written for the final year clarinet examination at the Paris Conservatoire Debussy’s “Première Rhapsodie” has quickly become a bestseller of the clarinet repertoire being a highly impressionistic work that plays marvellously with the timbral possibilities of the clarinet. Its success was so pervasive that Debussy later arranged the piano accompaniment for orchestra and in this form the rhapsody is today to be heard all around the world. Our edition also contains as a “lollipop” the popular “Petite pièce” an original work of under forty bars that was in fact devised as a sight-reading test.? Originally written for the final year Clarinet examination at the Paris Conservatoire Debussy ’s “ Première Rhapsodie ” has quickly become a bestseller of the Clarinet repertoire being a highly impressionisticwork that plays marvellously with the timbral possibilities of the Clarinet. Its success was so pervasive that Debussy later arranged the Piano accompaniment for Orchestra and in this form the rhapsody is today to beheard all around the world. Our edition also contains as a “lollipop” the popular “ Petite pièce ” an original work of under forty bars that was in fact devised as a sight-reading test.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart’s piano concertos. His piano reductions are aimed at amateurs rather than professionals- his fingerings for Mozart’s solo part have been exquisitely fine-tuned and are inspiring- and where Mozart’s original cadenzas are missing Schiff’s stylistically perfected ones have been included. In so doing we aspire to set a new precedent. First and foremost Mozart’s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart’s own manuscripts early copies in parts and prints also contain important information regarding themusical text. A co-production with Breitkopf & Härtel Mozart’s piano concertos are not only available as attractive and affordable piano reductions there are also an accompanying Urtext conductor’s score orchestral parts and a study score. None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart ’s Piano concertos. His Piano reductions are aimed at amateurs rather than professionals; his fingerings for Mozart ’s solo part have been exquisitely fine-tuned and are inspiring; and where Mozart ’s original cadenzas are missing Schiff’s stylistically perfected ones have been included. In so doing we aspire to set anew precedent. First and foremost Mozart ’s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart ’s own manuscripts early copies in parts andprints also contain important information regarding the musical text. A co-production with Breitkopf & Härtel Mozart ’s Piano concertos are not only available as attractive and affordable Piano reductions there are alsoan accompanying Urtext conductor’s score orchestral parts and a study score.

Sonate-Fantaisie-Scriabin’s two movement Piano Sonata no. 2 in g sharp minor was composed over a relatively lengthy period of time. He first began work on it in 1892 but in the summer of 1896 after Scriabin had performed the sonata several times in public in Paris he dispiritedly told the publisher and patron Beljajev with whom he was friends: “I have admittedly finished the sonata yet I am completely dissatisfied with it even though it has been revised seven times.” The composer was only happy with it in 1898 and the work was then published. For our Urtext edition we not only consulted the first edition that the composer carefully oversaw but also a recording of Scriabin himself playing thework done on paper rolls for the mechanical pianos made by the company of Ludwig Hupfeld. Piano Sonata No. 2 G Sharp Minor Op. 19 (Sonate-Fantaisie) was composed over a relatively lengthy period of time. Alexander Scriabin first began work on it in 1892 but in the summer of1896 after Scriabin had performed the sonata several times in public in Paris he told his publisher that the piece was finished but even despite having revised it 7 times he was still completely dissatisfiedwith it. It was not till 1898 that the work was in Scriabin 's eyes good enough to be finally published.

The only surviving original recording of Albéniz’ piano playing is from 1903. On a visit to Ruperto Regordosa Planas he had sat down at the former’s piano and improvised three short pieces. Planas recorded the music on a phonograph cylinder. The pieces were however never written down on paper. With the help of modern technical resources Milton Laufer an expert on Albéniz has been able to carefully reconstruct the musical text. Our first printing of the transcription thus enables us to have a unique “peep through the keyhole” into the workshop of the gifted pianist and composer. As a little extra we have included this fascinating recording on a CD with the firstissue of this printing.? The only surviving original recording of Albéniz' Piano playing is from 1903. On a visit to Ruperto Regordosa Planas he had sat down at the former's Piano and improvised three short pieces. Planas recorded the music on aphonograph cylinder. The pieces were however never written down on paper. With the help of modern technical resources Milton Laufer an expert on Albéniz has been able to carefully reconstruct the musical text. This firstprinting of the transcription thus enables us to have a unique 'peep through the keyhole' into the workshop of the gifted pianist and composer. As a little extra we have included this fascinating recording on a CD with the firstissue of this printing.

Johann Sebastian Bach’s three great cycles of suites belong to the fundamental canon of piano literature: the Partitas and the so-called English and French Suites. It is the French Suites that have long been by far the most popular – and this was also the case at the time that they were written. However this also creates problems for an editor preparing an Urtext edition because a vast number of copies of them were made by Bach’s circle of pupils and these contain many presumably authentic variants. In this revised Henle Urtext edition Ullrich Scheideler explains the complicated source situation with exemplary clarity. He lists the more minor source variants in footnotes;where there are major differences both versions of individual movements are printed in full. Our opulent volume is rounded off with an appendix offering alternative and additional pieces. This Henle Urtext edition has been completely revised and also offers new fingerings. It enables pianists and Bach enthusiasts alike to re-discover Bach’s universe for themselves! Johann Sebastian Bach’s three great cycles of suites belong to the fundamental canon of piano literature: the Partitas and the so-called English and French Suites. It is the French Suites that have long been by far the mostpopular – and this was also the case at the time that they were written. However this also creates problems for an editor preparing an Urtext edition because a vast number of copies of them were made by Bach’s circle of pupils and these contain many presumably authentic variants. In this revised Henle Urtext edition Ullrich Scheideler explains the complicated source situation with exemplary clarity. He lists the more minor source variants in footnotes;where there are major differences both versions of individual movements are printed in full. Our opulent volume is rounded off with an appendix offering alternative and additional pieces. This Henle Urtext edition has beencompletely revised and also offers new fingerings. It enables pianists and Bach enthusiasts alike to re-discover Bach’s universe for themselves!

Divertimenti for Wind Sextet-Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 1777 when he was living in Salzburg. The Italian title is reminiscent of simple “light” music but the pieces’ melodic ingenuity and colourful writing for winds show it to be chamber music of the highest quality. Our edition is based on the autograph and brings together all five authentic sextets in one practical edition. An ensemble with the standard instrumentation (two oboes two horns and two bassoons) will discover a true musical treasure. The two horn parts are provided both in the original transpositions (F/Bb/Eb) and also for horn in F. W. A. Mozart 's Divertimenti For Wind Sextet . Mozart composed the five Divertimenti between the years 1775 and 1777 when he was living in Salzburg. The Italian title isreminiscent of simple “light” music but the pieces’ melodic ingenuity and colourful writing for Winds show it to be chamber music of the highest quality. This Henle Urtext edition is based on the autograph and bringstogether all five authentic sextets in one practical edition. An ensemble with the standard instrumentation (two Oboes two Horns and two Bassoons) will discover a true musical treasure. The two Horn parts are provided both in theoriginal transpositions (F/Bb/Eb) and also for Horn in F.

One of the most eminent pianists of his time – who even engaged in a contest with Mozart and did not lose – Muzio Clementi created fundamental pedagogical works for piano and altogether 63 sonatas for piano solo. Didone abbandonata dates from his last compositional opus for solo piano sonatas written in 1821. The topic of Dido who was abandoned by Aeneas and expressed her grief through mourning despair and ultimately raving madness was extremely popular and subjected to countless arrangements since the 17th century in operas single “scena” and many instrumental works. The performance instructions for the sonata are as numerous as they are uncommon andsymbolize Dido’s hyper-expressiveness.

Three Equali for four Trombones WoO 30-When Beethoven visited the director of music at the cathedral in Linz Franz Xaver Glöggl in autumn 1812 the latter asked his guest to compose socalled Equali for 4 trombones for All Souls’ Day [2 November]”. Beethoven readily complied – and it was to be his own funeral music. For in 1827 the Equali were sung in an arrangement for male choir as a “dirge for Beethoven’s funeral procession”. The original instrumental version is today a core work in the trombonist’s repertoire. Our Urtext edition is based on the musical text in the Beethoven Complete Edition and contains a score and single parts (both in the original C and in modern bass clef).When Beethoven visited the director of music at the cathedral in Linz Franz Xaver Glöggl in autumn 1812 the latter asked his guest to 'compose socalled Equali for 4 trombones for All Souls’ Day [2 November]”. Beethoven readilycomplied – and it was to be his own funeral music. For in 1827 the Equali were sung in an arrangement for male choir as a “dirge for Beethoven’s funeral procession”. The original instrumental version is today a core workin the trombonist’s repertoire. Henle's Urtext edition is based on the musical text in the Beethoven Complete Edition and contains a score and single parts (both in the original C and in modern bass clef).

Concerto d minor BWV 1043 for 2 Violins and Orchestra-The solo parts of this wonderful Double Concerto for two violins and orchestra survive in a faultless fair copy by Bach that was made around 1730. The slow movement is regarded as a melodic high point of the composer’s output. With the two solo violins on an equal footing the concerto amply deserves its position as one of Bach’s most often-played and popular works. For 2 violins with piano reduction.

Piano Reduction-“Something quite curious I believe” – it was thus that Robert Schumann described the Concert Piece for four Horns and large orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatment of the instruments was concerned. When it was composed in 1849 the French horn was still fairly new enabling players to play previously unheard-of runs and free modulations a fact which Schumann made the most of particularly with his scoring for four horns. Even today the Concert Piece is the romantic work for horn par excellence and a benchmark for all soloists. Composed in 1849 Robert Schumann 's Concert Piece For Four Horns And Orchestra Op.86 is still considered a romantic work for Horn par excellence and a benchmark for all soloists. 'Something quitecurious I believe' – it was thus that Schumann described his Concert Piece For Four Horns And Orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatmentof the instruments was concerned. At the time in which the work was composed the French horn was still fairly new enabling players to play previously unheard-of runs and free modulations a fact which Schumann madethe most of particularly with his scoring for four Horns.

Chopin succeeded in doing something truly remarkable with his two cycles of Etudes op. 10 and op. 25 published in 1833 and 1837 respectively. Probably no one before him had composed technical practice pieces that at the same time reached such musical heights. Chopin’s Etudes are character pieces that are full of tension written for the concert hall. The virtuosic works including long-running hits such as the “Revolutionary Etude” op. 10 no. 12 belong to the pianist’s core repertoire. In addition to the two cycles op. 10 and op. 25 our Urtext edition also contains three Etudes without opus number which Chopin composed for a Parisian piano method in 1840: wonderfully lyricalminiatures which can hold their own with the 24 grand studies. Chopin succeeded in doing something truly remarkable with his two cycles of Etudes op. 10 and op. 25 published in 1833 and 1837 respectively. Probably no one before him had composed technical practicepieces that at the same time reached such musical heights. Chopin ’s Etudes are character pieces that are full of tension written for the concert hall. The virtuosic works including long-running hitssuch as the “ Revolutionary Etude ” Op. 10 no. 12 belong to the pianist’s core repertoire. In addition to the two cycles Op. 10 and Op. 25 our Urtext edition also contains three etudes without opus number which Chopincomposed for a Parisian Piano method in 1840: wonderfully lyrical miniatures which can hold their own with the 24 grand studies.

Ballades-In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin’s ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. Following the Préludes we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus.In 1836 Chopin introduced the term 'ballad' into Piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin'sballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. Following the 'Préludes' Henle have now thoroughly re-evaluated thisedition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Henle website.

This much-beloved flute piece is probably an alternative slow movement for Mozart’s Flute Concerto in G major and in its version with piano accompaniment it is indispensable to today’s flute teaching and to home music-making. This is undoubtedly due to the broad sweeping cantilenas of the flute part which moreover can easily be mastered by students note the piece’s low level of difficulty (3).

In memory of the deceased illustrator and architect Viktor A. Hartmann (1834–1873) an exhibition of his watercolours and drawings was organised in 1874. Modest Mussorgsky who had been Hartmann’s friend was inspired by his visit to this exhibition to compose the cycle “Pictures at an Exhibition” for piano solo a milestone of piano literature. He wrote it in June 1874 in St. Petersburg and subtitled it “Memories of Viktor Hartmann”. The picturesque and evocative musical language which lets the pictures come to life has remained fascinating to the present day. The source of the Henle Urtext edition is the cleanly written autograph. The layout of the musical text is based onMussorgsky’s notation.

Piano Works Volume II-To mark the 150th anniversary of Debussy’s birth in 2012 we are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music it was important for us to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s we have steadily been publishing single editions of all of Debussy’s important works for the piano. Our editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the Danse bohémiennefrom 1880 all of the single works from our catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little encore we have included the Prélude to the cantata La Damoiselle élue in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy! To mark the 150th anniversary of Debussy’s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy’simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

A collection of prose poems by the French Romantic Aloysius Bertrand inspired Ravel to write his piano cycle “Gaspard de la nuit”. Unlike earlier works he does not merely create an atmospheric depiction of the literary model – in a fascinating manner he recounts the eerie-grotesque scenes using musical means. His “three romantic poems of transcendental virtuosity” were supposed to surpass the technical refinement of Balakirev’s “Islamey” (HN 793) which was considered unplayable at the time. Our edition not only offers impeccable Urtext in a clear larger format: the corresponding poem by Bertrand prefaces each part in three languages.?A collection of prose poems by the French Romantic Aloysius Bertrand inspired Ravel to write his piano cycle 'Gaspard de la nuit'. Unlike earlier works he does not merely create an atmospheric depiction of the literarymodel - in a fascinating manner he recounts the eerie-grotesque scenes using musical means. His 'three romantic poems of transcendental virtuosity' were supposed to surpass the technical refinement of Balakirev’s 'Islamey'(HN793) which was considered unplayable at the time. This edition not only offers impeccable Urtext in a clear larger format: the corresponding poem by Bertrand prefaces each part in three languages.

Thanks to its wealth of invention elegant workmanship and technical and musical challenges Franz Anton Hoffmeister's Concerto no. 1 has emerged as the preferred concerto for double bass auditions. Tobias Glöckler's edition leaves no wishes unfulfilled: the double bass part appears in solo and orchestral tuning with piano reductions in D major and C major. Moreover an additional part written in fingering notation has been specially designed for use with the Viennese tuning customary in Hoffmeister's days. It allows players to use this resonant historical tuning immediately without tedious retraining. Finally a separate part is also provided for the solo violin appearingin the second movement.?

12 well-known original pieces in progressive order of difficulty with practical comments-Of the twelve composers in our series “At the piano” Franz Schubert was undoubtedly the least at home at the piano – but nevertheless what masterpieces he left us for this instrument! There is hardly any pianist who is not immediately captivated by the cheerful yet melancholy atmosphere of Schubert’s impromptus and Moments musicaux. Even the simple pieces by Schubert at the beginning of this volume have surprising twists in store that afford them a profundity of their own. Nor are his dances mere “entertainment”. No matter how charming they may seem on the surface there is always a wistful tone in his waltzes and ländler. This seems to reflect the gravely ill composer’spresentiment of his own death. Of the twelve composers in our series “At the piano” Franz Schubert was undoubtedly the least at home at the piano – but nevertheless what masterpieces he left us for this instrument! There is hardly any pianist who is notimmediately captivated by the cheerful yet melancholy atmosphere of Schubert’s impromptus and Moments musicaux. Even the simple pieces by Schubert at the beginning of this volume have surprising twists in store that afford them aprofundity of their own. Nor are his dances mere “entertainment”. No matter how charming they may seem on the surface there is always a wistful tone in his waltzes and ländler. This seems to reflect the gravely ill composer’spresentiment of his own death.

Clarinet Concerto in E flat major op. 1-This edition completes our series of all three clarinet concertos by the Swedish composer and clarinettist Bernhard Henrik Crusell. Issued in Leipzig in 1811 it was his first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio it is probably the most “Mozartian” of all of his three concertos although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinettist Nicolai Pfeffer is now presenting this charming work between Classicism and Romanticism on the basis of the first edition. The piano reduction wonderfully fits the hands and was prepared by JohannesUmbreit on the basis of the original orchestral parts. This edition completes Henle's series of all three Clarinet concertos by the Swedish composer and clarinettist Bernhard Henrik Crusell . Issued in Leipzig in 1811 the Clarinet Concerto In E-FlatMajor Op.1 was Crusell 's first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio it is probably the mostMozartian of all of his three concertos although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinettist Nicolai Pfeffer is now presenting this charming work betweenClassicism and Romanticism on the basis of the first edition. The Piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

I would gladly have done some more fiddling but I was accompanied so badly that it gave me the colic. Thus Mozart writing to his father on 16 October 1777. He would probably have taken great pleasure in this new urtext edition for the piano reduction is especially stylish and easy to play - unlike so many editions whose overloaded piano parts neglect the needs of the accompanist. The text of the solo part corresponds exactly to Mozart's own notation and the cadenzas supplied by the Munich virtuoso Kurt Guntner are an authoritative and stylistically reliable bonus.?An Urtext edition of W.A. Mozart's Violin Concerto No.3 In G K.216 as edited by Wolf-Dieter Seiffert with Piano reduction by Siegfried Petrenz and fingering bowing cadenzas and lead-ins by Kurt Guntner.