On 18 May 2006 a manuscript was auctioned at Sotheby’s that made chamber musicians prick up their ears. Shortly before his death Max Bruch composed three works for strings which he was no longer able to have published. Following his death the two quintets and the octet were believed to have gone missing. Whilst the other two works have since re-appeared the Quintet in E flat major could not be found. It was only later that the well-preserved copy surfaced in Sotheby’s catalogue. Following a scholarly evaluation we are now proud to present a first edition of this charming late Romantic work to the music world.?All of the parts for Max Bruch's string quintet in E flat.

Besides being Mozart’s most popular and frequently played violin sonata it is also the only one set in a minor key. He wrote it in Mannheim and Paris in 1778 along with a few other sonatas choosing a somewhat unusual two-movement layout. As all lovers of domestic music-making know this profound and beautiful piece is not all that difficult to play. Our edition is extracted from volume 1 of the complete violin sonatas and includes a preface and the requisite critical commentary.Henle Urtext Edition of Wolfgang Amadeus Mozart's Sonata for Violin and Piano In E Minor K. 304 (300c).

Eduard Hanslick a much feared critic in his time was not very complimentary following its première: the violin was no longer being played but rather “pulled about torn asunder beaten black and blue”. Yet he was not able to stop the triumphal march of Tschaikowsky’s only violin concerto. Its incredible technical demands have meant that it is a true test of virtuosity. Its effectivenessis however mainly due to its great expressiveness – are there any violinists who do not love the lyrical melancholic “Canzonetta”? – and due to its Slavic temperament. At last and indeed for the first time this milestone in the violinist’s repertoire is now available in a text-criticaledition which is true to its original form.? Urtext edition Piano reduction.

Brahms hésita longtemps avant d’écrire un concerto de soliste pour un instrument dont il ne maîtrisait que très peu la technique. C’est pourquoi lorsqu’il composa son concerto pour violon et orchestre op. 77 dans les années 1877/1878 ce fut en collaboration étroite avec son ami Joseph Joachim qui est également l’auteur de la cadence. Ses contemporains accueillirent l’œuvre avec enthousiasme et elle reste considérée aujourd’hui comme une pièce majeure du répertoire. Une édition urtext dans un petit format maniable destiné à l’étude s’avère par conséquent très utile. Reposant sur la partition parue dans la nouvelle édition complète des œuvres de Brahms elle contientégalement en annexe la cadence de Joachim dans deux versions différentes: d’une part la version originale et d’autre part une version très intéressante plus condensée mise au point par Brahms ultérieurement avec la violoniste Marie Soldat.

Piano Quartets-It is hardly imaginable today but the Viennese public of Mozart’s time was unable to appreciate the beauties of Mozart’s Piano Quartet K. 478. It was not accustomed to the dramatic g minor character – especially of the first movement – coming from this composer. And thus it came about that the publisher Hoffmeister refused to print any further quartets after K. 478 Mozart wrote only the E flat major Quartet K. 493 although a series of six works had originally been planned. What a pity! Today the two piano quartets rank among the landmarks of Mozartian chamber music and continue to enjoy a great status.

Edition without fingering-The first Prelude from volume I of the Well-Tempered Clavier is among the most-played pieces in the piano repertoire. Though it seems easy to play this is misleading since the performer must build up and maintain the musical tension. Only in the closing measures does the tension let up and lead to the more challenging fugue. Bach Prelude Fug C Bwv846 Pf W/O Fng

Intermezzi op. 4-Encouraged by the success of his “Papillons” Schumann composed his “Intermezzi” op. 4 also known as “longer Papillons” in 1832. Despite the at times improvisatory style Schumann worked very carefully on this composition “The Intermezzi are going to be something special – each note is going to be weighed up carefully”. The fact that Schumann was very preoccupied with counterpoint at the time cannot be missed. Bach’s influence can be especially felt in numbers 1 and 5 something that contemporary critics greatly appreciated. This edition has been revised in Schumann’s anniversary year to reflect the latest scholarly findings. An extensive source critical text has also beenincluded.? Encouraged by the success of his “Papillons” Schumann composed his Intermezzi op. 4 also known as “longer Papillons” in 1832. Despite the at times improvisatory style Schumann worked very carefullyon this composition “The Intermezzi are going to be something special – each note is going to be weighed up carefully”. The fact that Schumann was very preoccupied with counterpoint at the time cannot be missed.Bach’s influence can be especially felt in numbers 1 and 5 something that contemporary critics greatly appreciated. This edition has been revised in Schumann ’s anniversary year to reflect the latest scholarly findings.An extensive source critical text has also been included.

For our Urtext edition of the Clarinet Sonata op. 167 we were able to consult the autograph for the first time. “At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunity to be heard” Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe one for clarinet and one for bassoon were thus composed- yet he was not to hear the premieres. As far as form and infl ection are concerned the three wind sonatas op. 166 –168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour wit and fine irony characterise these works for wind.? For Henle's Urtext edition of the Clarinet Sonata op. 167 they were able to consult the autograph for the first time. 'At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunityto be heard' Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection areconcerned the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour wit and fine irony characterise these works for wind.

Rhapsody for Alto Saxophone and Orchestra-Debussy’s Rhapsody was commissioned by the wealthy amateur Elise Hall who paid the composer a considerable sum in advance. Yet work on it was not easy- following his death all that existed was a finished orchestral sketch a short score. Debussy’s friend Jean Roger-Ducasse undertook versions for piano and orchestra based on the sole authentic source. Ever since its first performance in Paris in 1919 both of these versions of the work have formed part of the saxophone’s core repertoire. Our study score contains the first transcription of the autograph in printed form. It is a valuable addition to our Urtext edition for practical music making (HN 989).?Debussy’s Rhapsody was commissioned by the wealthy amateur Elise Hall who paid the composer a considerable sum in advance. Yet work on it was not easy; following his death all that existed was a finished orchestral sketch ashort score. Debussy’s friend Jean Roger-Ducasse undertook versions for piano and orchestra based on the sole authentic source. Ever since its first performance in Paris in 1919 both of these versions of the work have formed partof the saxophone's core repertoire. Our study score contains the first transcription of the autograph in printed form. It is a valuable addition to our Urtext edition for practical music making (HN989).

This work composed in 1878/79 alternates between chamber music intimacy and symphonic opulence and marks the beginning of a series of significant late works by César Franck. Its composition was partly prompted by the successfulperformance of Franck’s youthful piano trios at the “Société nationale de musique” (founded in 1871) and probably also by a composition competition for works using this instrumental combination whose deadline Franck then went onto miss. The Quintet was received coolly at its first performance in January 1880 and it was performed just a few more times during the composer’s lifetime. It was only in the 20th century that audiences and critics came torecognise this work as a major milestone in the history of French chamber music and it now adorns the Henle catalogue in a new Urtext edition.

von leicht bis mittelschwer mit praktischen Erläuterungen-15 original Piano studies by Johannes Brahms for intermediate-level students. German language edition.

The five string quartets in this volume are generally designated as Beethoven’s “middle quartets ” even though stylistically they do not all build a closed unit. More than three years lie between the inception of the three quartets op. 59 (1806) and the quartet op. 74 (1809/10). In the quartets op. 59 Beethoven sprinkled several Russian folksong themes – an homage to Prince Razumovsky who had commissioned the works.This is why the pieces are often called the “Russian Quartets.” The next quartet op. 74 in E flat major was also given a nickname: thanks to extended pizzicato passages in the first movement it is frequently called the “Harp Quartet”. The f minor Quartet op.95 in turn bears in the autograph title “Quartett serioso.” All five quartets are mature masterworks which demand high interpretative and technical mastery.

When Mendelssohn learned from his publisher Nikolaus Simrock that he was to receive an additional honorarium for a part of his “Lieder ohne Worte” he effusively thanked him for this gift. However the gift that Mendelssohn in his turn made to posterity with these Songs Without Words could probably not have been foreseen even by him at the time. These “Original Melodies” “Romanzen” or “Clavierstücke” which only later gained the title “Lieder ohne Worte” enjoyed great success during the composer’s lifetime and should be included amongst the most rewarding pieces of 19th-century piano literature. Our volume contains the complete “Lieder ohne Worte” published during hislifetime and posthumously.

Sonatine bureaucratique-Although Satie took the classical form as a model for his “Sonatine” it is quintessentially an ironic work. The composer who later in life liked to be seen walking through the streets wearing a stiff collar and bowler hat included lines of text between the staves that describe the day of a typical Parisian bureaucrat. The bureaucrat sits in a chair with green silk sleeve guards and dreams of being promoted. “Next door a piano is playing Clementi”… and at this point parodied echoes of Clementi’s popular Sonatine op. 36/1 can actually be heard. Ulrich Krämer provides knowledgeable background information in the preface to our edition that will enable a better understanding ofSatie’s work. Although Satie took the classical form as a model for his “Sonatine” it is quintessentially an ironic work. The composer who later in life liked to be seen walking through the streets wearing a stiff collar and bowler hat included lines of text between the staves that describe the day of a typical Parisian bureaucrat. The bureaucrat sits in a chair with green silk sleeve guards and dreams of being promoted. “Next door a piano is playingClementi”… and at this point parodied echoes of Clementi’s popular Sonatine op. 36/1 can actually be heard. Ulrich Krämer provides knowledgeable background information in the preface to our edition that will enable a betterunderstanding of Satie’s work.

In 1983 G. Henle Publishers launched its series of piano works by Debussy with these Arabesques the most important of his early piano pieces. The edition is still amongst our most successful ones. The Arabesques were probably composed shortly beforethey was issued in November 1891. Following the work’s publication it received little attention but after 1906 it became one of the composer’s most popular works and now there are numerous transcriptions for other instruments. The elegant andflowing ornamentation of the first Arabesque which despite all of the movement also displays a certain motionless quality has ensured the piece has a firm place in the pianist’s repertoire including that of the talented amateur. Debussy’s Arabesques are tranquil and atmospheric pieces for solo Piano which typify his compositional style. These two graceful pieces have become firm favourites in the piano repertoire and are among the most well lovedpieces written by this great Romantic. This Henle Urtext edition of these pieces provides you with a clear and accurate representation of the composer’s original intentions with thoroughly detailed commentaries editorial markings and suggestions as edited by Ernst-Gunter Heinemann and with fingerings by Hans-Martin Theopold.

Robert Schumann in fact composed just one work for the clarinete namely the “Drei Fantasiestücke” op. 73 for clarinet and piano of February 1849. But the “Drei Romanzen” op. 94 for oboe written at the end of that same year were marketed with solo parts for clarinet and for violin too. Clarinettists are certainly delighted that G. Henle Verlag is following this principle of alternative scoring. The manuscript that Robert gave to his wife Clara in 1849 as a Christmas gift does not survive. Instead autograph sketches have been consulted for our Urtext edition and these have enabled correction of some irregularities in the 1851 first edition. The editor’s preface and commentarygive extensive information on textual questions.

Piano Sonata No. 8 op. 66-In his last years Skryabin realized a noble and great idea. Inspired by his study of theosophical writings he dreamed of joining music poetry mime architecture light colour and even aromas to create a “Gesamtkunstwerk” and thus elevate human beings to a higher level of consciousness. This “Mysterium” was never completed but his late piano sonatas – conceived as preliminary studies – enable us to see what moved Skryabin. He spent a particularly long time working on his eighth sonata and proofread it intensively- but later quite a few mistakes still found their way into it. Thanks to the autograph and the first edition ambiguous passages have now been cleared up and correctedin our Urtext edition. In his last years Skryabin realized a noble and great idea. Inspired by his study of theosophical writings he dreamed of joining music poetry mime architecture light colour and even aromas to create a 'Gesamtkunstwerk' andthus elevate human beings to a higher level of consciousness. This 'Mysterium' was never completed but his late piano sonatas – conceived as preliminary studies – enable us to see what moved Skryabin. He spent a particularly longtime working on his eighth sonata and proofread it intensively; but later quite a few mistakes still found their way into it. Thanks to the autograph and the first edition ambiguous passages have now been cleared up and correctedin our Urtext edition.

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 complete Piano sonatas presented as an accurate and authoritative Henle Urtext edition. Clothbound.

Dvorák’s famous Symphony from the New World abounds in melodic turns and phrases that call up the atmosphere of “Indian melodies” and spirituals. Among them are pentatonic (five-tone) tunes and syncopated rhythms. Tender melodies from this same sound-world also reside in this Sonatina for violin and piano op. 100 written during his first residency in America between 1892 and 1894 transforming the four-movement Sonatina into a charming chamber-music piece. Dvorák dedicated the work to his children Otilie (aged 15) and Antonin (10) and it is in keeping with the abilities of the young pianist daughter and little violinist son. Nevertheless Dvorák writes: “grown-up adultsshould also be able to take enjoyment in these pieces in the same way that they can”. The carefully-prepared Henle Urtext edition boasts an extensive preface concerning the source materials and is based on the autograph and the first edition published by Simrock. Sonatina In G Op.100 was written in New York in 1893. Scored for Violin and Piano it comprises four movements: Allegro Risoluto - Larghetto (Indian Lament) - Scherzo and Trio: Molto Vivace - Finale:Allegro . It was intended for the composer’s children making the simple melodic lines and unadorned harmonies an accessible favourite of many young violinists. A delightful and rewarding piece it is perfect for any recital. Antonin Dvorak (1841-1904) was best known for his New World Symphony composed in the short time he spent in America – the rest of his career was spent in his native Bohemia and the rest of Europe.

Piano Quartets-One can only regret that Beethoven left only four piano quartets as these four works rank among the most popular of this genre. Three of them the Quartets WoO 36 had been penned in Bonn which makes them one of the master’s most successful juvenilia of all. Yet even if they exhale Mozart’s spirit they are already and unmistakably typical Beethoven. Further evidence of his regard for the pieces can be found in his re-use of the third quartet’s slow movement in his first Piano Sonata op. 2 no. 1. The fourth quartet represents another version of the Wind Quintet op. 16.