These two short unpretentious sonatinas in G major and F major were published during Beethoven’s lifetime in ca. 1807. Since then they have become firmly established in the repertoire for beginners due to their striking beauty. However it is very unlikely that they were actually written by Beethoven and for this reason they do not have opus numbers but instead are listed in his catalogue of works as “Anhang/Appendix 5”. Walther Lampe provided the fingerings for this Urtext edition Lampe was a piano pupil of Clara Schumann and in turn taught Günter Henle founder of the music publishing company. Henle described Lampe as an “outstanding performing pianist”. Moreover hewas one of the leading piano pedagogues of his time.

Mozart’s piano trios have been available in an established Henle edition in parts for many years. They have now been extensively revised by the editor and include the latest musicological findings. In particular the autograph scores from the Library of the Jagiellonian University of Cracow which were not accessible for many years form the basis of this revision with its extensive commentary. On the occasion of this new edition Henle is proud to present a study edition of the piano trios for the first time.? Mozart ’s Piano Trios have been available in an established Henle edition in parts for many years. They have now been extensively revised by the editor and include the latest musicological findings. Inparticular the autograph scores from the Library of the Jagiellonian University of Cracow which were not accessible for many years form the basis of this revision with its extensive commentary. On the occasion of this newedition Henle is proud to present a study edition of the Piano Trios for the first time.

Brahms‘ first piano works deal with the classical form of the sonata. The Scherzo op. 4 belongs to this context inasmuch as it can be considered as an independent sonata movement. However with the melody of the Old German Minnelied “Verstohlen geht der Mond auf” used for the slow movement of the first sonata and the lines from a poem by Sternau that preface the second movement of the Sonata op. 5 Brahms also proclaims his allegiance to Romanticism. The push-and-pull between Classicism and Romanticism then becomes clearly audible in the opp. 1 2 4 and 5. – In contrast the Ballades op. 10 written just barely a year after the Sonata op.5 are thorougly romanticpiano pieces. The best known is certainly no. 1 based on the Scottish ballad Edward from Herder’s “Stimmen der Völker.”

In autumn 1891 Debussy’s early piano piece Ballade slave was published by Choudens. When he had it re-engraved by Fromont in a slightly revised form in 1903 he deleted the word slave. Thus the title pointed more markedly to the work’s narrative character. Yet one can detect a certain Russian influence stemming from the time he spent with Nadeshda von Meck – Debussy was at times her house pianist. Even echoes of Balakirev can be heard. The occasionally unconventional tonal approach already heralds the Debussy of the important cycle Pour le Piano published in 1901. In autumn 1891 Debussy ’s early Piano piece Ballade slave was published by Choudens. When he had it re-engraved by Fromont in a slightly revised form in 1903 he deleted the word slave. Thus the titlepointed more markedly to the work’s narrative character. Yet one can detect a certain Russian influence stemming from the time he spent with Nadeshda von Meck – Debussy was at times her house pianist. Even echoes ofBalakirev can be heard. The occasionally unconventional tonal approach already heralds the Debussy of the important cycle Pour le Piano published in 1901.

Joseph Haydn’s nearly forty piano trios are available in five volumes from G. Henle. These are based on the Haydn Complete Edition likewise published by Henle. The fifth volume contains the six Piano Trios Hob. XV:27–32 which Haydn probably composed during his second sojourn in England (1794/95). He dedicated the first three to the then prominent pianist “Mrs Bartolozzi” who was born in Aachen ca. 1770 as Therese Jansen and had received piano instruction from Muzio Clementi. All six trios present a pianistic challenge and at the same time are sophisticated chamber music works. The G major Trio Hob.XV:32 however is probably a violin sonata “in disguise” to which thevioloncello part was subsequently added “by a foreign hand”. Prefixed to this Urtext edition is a detailed preface by the editor that provides information about the works’ genesis sources and notational particularities. Franz Joseph Haydn 's Piano Trios - Volume V for Violin Cello and Piano. Urtext edition score and parts.

Fantasies Preludes and Fugues-In contrast to the large collections of partitas along with the French and English Suites Bach’s Fantasies and his Preludes and Fugues besides the Well-Tempered Clavier have not come down to us as interconnected cycles. Perhaps this is one of the reasons why only few of these works gained widespread popularity. Only the much-acclaimed Chromatic Fantasy and Fugue BWV 903/903a and the great c-minor Fantasy BWV 919 have found a permanent place in pianists’ concert repertoires. Some of the works compiled in this volume are undoubtedly juvenilia that do not yet hint at the mature Bach whilst nevertheless pointing out the composer’s fresh power of invention.

aus dem Musikalischen Opfer-Bach’s Trio Sonata for flute violin and basso continuo from the Musical Offering is probably the pre-eminent trio sonata in music history. When Bach met King Frederick the Great in Potsdam in 1747 the sovereign presented the composer with the celebrated “Royal Theme” composed by himself. It underpins the entire Musical Offering which also contains several fugues and canons as well as the Trio Sonata. The Canon perpetuus that follows the Trio can also be played by a trio. The term “perpetuus” here means that the performers themselves are to determine when the canon ends. Bach Trio Sonata BWV1079 No8 & Canon Perpetuus BWV1079 No9 from the Musical Offering for Flute Violin & Con tinuo edited by Eppstein & Kirnberger.

The early piano trio the two piano concertos the three piano sonatas and the late cello sonata op. 65 comprise Chopin’s few contributions to sonata form the principal form of the Classical era. Especially the two Piano Sonatas opp. 35 and 58 fully deserve their reputation as two of Chopin’s most distinctive creations. The b flat minor Sonata was written in 1839 but the funeral march that made it famous had seen the light of day two years earlier. Its combination of free and structured form of passion and clarity gave birth to a work of incomparable mastery crowned with a highly original final movement: 75 measures of surging unison eighth-note triplets.

“Spirited” “dramatic” “highly expressive” and “masterly” are among the comments made upon Mendelssohn’s String Quartets op. 44 nos 1–3. He wrote them in 1837/1838 at a very happy time: he had just married was becoming world famous and had been appointed director of the Leipzig Gewandhaus Concerts one of the highest positions in the German musical world at that time. The quartets were written in the order 2 (in e minor) 3 (in E-flat major) and 1 (in D major). Mendelssohn himself considered the Quartet in D major as his best – perhaps a reason why he placed it at the beginning of the collection.

Impromptus-Hardly unexpectedly for a genre created by Franz Schubert Chopin’s four Impromptus have a strongly improvisatory character while still overflowing with fleet-footed lightness as well as with dignity and tastefulness. This applies above all to the first three pieces of this volume opp. 29 36 and 51. Whereas the first was written in 1837 the other two were composed during Chopin’s relationship with the authoress George Sand at her country seat of Nohant: op. 36 in 1839 op. 51 three years later. The opus number of the Fantaisie Impromptu op. 66 is misleading since the piece had already been written in 1834 as the first of the four works. Chopin had apparently notenvisioned its printing and it was issued only after his death thanks to the efforts of his friend Julian Fontana. The print diverges so strongly from the – fortunately – extant autograph however that both versions are reproduced in the Henle Urtext edition.

Fanny Hensel Felix Mendelssohn Bartholdy’s sister wrote music throughout her life. She originally published her songs and piano pieces under her brother’s name but soon began to use her own name instead confiding to her diary that “I cannot deny that the joy I derive in publishing my own music also increases my good humour”. Luckily for us her great-granddaughter Fanny Kistner-Hensel gave G. Henle Verlag access to a previously unpublished selection of 11 piano pieces and edited them herself from the autographs. After some early pieces focussing on piano instruction there follows a chronological sequence of personal character pieces such as the Notturno in g minor and “Abschiedvon Rom” [Departure from Rome] composed from the mid-1830s. A selection of 11 works for the Piano by Fanny Mendelssohn Hensel .

Anton Reicha (1770–1836) is doubtlessly known to many music lovers as a friend of Haydn’s and Beethoven’s. Wind players know him as the outstanding composer of 24 published wind quintets. Curiously enough the fact that Reicha also wrote inspiring works for the piano is not very well known even today. Hopefully our edition of selected works will help to change this. It provides a cross-section of the different genres that Reicha cultivated: a sonata (op. 43) a set of variations (op. 57) as well as a fantasy (op. 61). Anton Reicha (1770–1836) is doubtlessly known to many music lovers as a friend of Haydn’s and Beethoven’s. Wind players know him as the outstanding composer of 24 published Wind quintets. Curiously enough the factthat Reicha also wrote inspiring works for the Piano is not very well known even today. Hopefully our edition of selected works will help to change this. It provides a cross-section of the different genres that Reicha cultivated: a sonata (op. 43) a set of variations (op. 57) as well as a fantasy (op. 61).

5 Capricci (First Edition)-On hearing Joseph Anton Steffan’s (1726–1797) numerous songs or piano works he can immediately be identified as an original precursor of Romanticism. His harmonically refined “Capricci” – whose tempi and metre often change – are particularly attractive although to date they have lain around in archives in manuscript form. We have dug up these treasures and are offering a first edition of the five Capricci with excellent Henle engraving and with a short introductory preface.

Haydn’s charming and sole piano quintet is for such an unusual combination of instruments - two horns and piano trio - that hardly any musicians are familiar with it. Horn players will get their money’s worth in this very early work by Haydn (ca. 1765) and pianists and string players are also kept busy. Our edition is based on the flawless musical text in the Haydn Complete Edition. We hope that a great many horn players will discover our edition and that the work will finally be able to emerge from the shadows! Haydn ’s charming and sole Piano Quintet is for such an unusual combination of instruments - two Horns and Piano trio - that hardly any musicians are familiar with it. Horn players will get theirmoney’s worth in this very early work by Haydn (ca. 1765) and pianists and String players are also kept busy. Our edition is based on the flawless musical text in the Haydn Complete Edition. We hope that a greatmany Horn players will discover our edition and that the work will finally be able to emerge from the shadows!

Piano Pieces • Piano Variations-The works in this volume show the development of keyboard instruments in an exemplary manner: the early works were intended for harpsichord two of which were for an instrument with the so-called “Viennese bass octave” which enabled the musician to play chords larger than a hand span with one hand. In our edition these passages have footnotes with suggestions on how to play them. The pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for piano as with the “Largo assai” from the “Reiterquartett”. Christine Schornsheim a specialist in historical performance practice provided fingerings for this completely revised andextended Urtext edition.? The works in this volume show the development of Keyboard instruments in an exemplary manner: the early works were intended for Harpsichord two of which were for an instrument with the so-called “Viennese bass octave” whichenabled the musician to play chords larger than a hand span with one hand. In our edition these passages have footnotes with suggestions on how to play them. The Pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for Piano as with the “Largo assai” from the “Reiterquartett”. Christine Schornsheim a specialist in historical performance practice provided fingerings for thiscompletely revised and extended Urtext edition.

Ludwig van Beethoven composed his five large piano concertos over a period of twenty-five years. The Second Concerto in B flat major is presented here in a piano reduction. The edition of our customary Urtext quality is arranged for practical use and based on the Beethoven Complete Edition for which Beethoven’s autograph served as the source. He probably wrote down a first version of this concerto as early as 1786–92 thus before the Piano Concerto No. 1 but it was not published until a few months after the first one in December 1801. Beethoven who regularly performed the B flat major Concerto on his concert tours made repeated alterations to the work. These changes haveleft behind fascinating traces which the editor – Beethoven scholar Hans-Werner Küthen – discusses in detail in his preface and in the subsequent section “About this edition”. Piano Concerto No.2 in B Flat Major Op.19 with a Piano reduction of the orchestral score.

Through the amiable genre of the sonatina generations of piano pupils have slowly and cautiously approached its “big sister” the sonata. With the aid of our three-volume selection of sonatinas from two centuries intermediate piano pupils large and small can undertake an excursion through the development of piano music from the early 18th to the end of the 19th century. This first volume contains 26 easy to moderately difficult sonatinas from the time of the High Baroque and pre-classical periods by composers including C.P.E. and J.C.F. Bach Handel Georg Benda Domenico Scarlatti and Antonio Soler. Since the term “sonatina” had quite diverse meanings at this time the volumeoffers works of varied character. The simple pieces at the beginning provide a way in then the sonatinas follow in chronological order. A table shows the most important embellishments and their correct execution according to the rules of the time. A large body of literature for piano lessons!

Klavierauszug-Ludwig van Beethoven’s two Romances for violin and orchestra in G major op. 40 and F major op. 50 are rewarding solo pieces that demand virtuoso technique and artistic sensitivity. Their simple structure with noble melodies and subsequent virtuoso embellishments already made them popular during Beethoven’s lifetime. The piano score of this edition is based on the Urtext of the Beethoven Complete Edition. In his preface to our Henle Urtext Edition Ernst Herttrich offers many interesting details about the genesis and conception of the two romances. The fingerings are by violin virtuoso Wolfgang Schneiderhan an unfingered part is also included. The Romance for Violin and Orchestra No. 1 in G major was written in 1802 and published in 1803 as opus 40 while the earlier Romance for Violin and Orchestra No. 2 in F major was written in1798 but not published until 1805 as opus 50 leading to some confusion as to the actual chronology. Ludwig van Beethoven (1770 – 1827) was a German composer and pianist and arguably the most famous composer ofall time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16String Quartets.

Piano Trios Volume III-In the Classical period and well into the 19th century piano trios were almost“fashion accessories” At the end of his life Haydn could look back proudly at the 39 piano trios which he now left to posterity. One interesting feature of the collection Hob. XV:15-17 is that thanks to their scoring for flute instead of violin they differ from Haydn’s other trios. They were commissioned by the London publisher John Bland who had paid a visit to Haydn in 1789. Haydn immediately put pen to paper and created three extraordinarily charming pieces full of imaginative touches and elegance which were published in summer 1790. The use of the flute is undoubtedly due to theinstrument’s unique popularity in the circles of the English middle classes and aristocracy nevertheless a performance with violin is also perfectly feasible and even explicitly suggested in the F-major Trio Hob. XV:17. Franz Joseph Haydn 's Piano Trios Volume III for Piano Flute (or Violin) and Cello. Urtext edition score.

The Henle catalogue contains almost all of Schumann’s works for piano in top quality editions. With the publication of op. 32 we are filling an important gap. In or-der to help his “Neue Zeitschrift für Musik” to become more successful Schumann gave it a practical use: he enclosed the music for short works. The Bach-like “Gigue” and “Fughetta” also appeared here. The “Scherzo” and “Romance” are on the other hand Romantic forms. It was only later that he put the pieces in their current sequence. The renowned Schumann pianist Leif Ove Andsnes kindly allowed us to use his fingerings in our edition. It is a compelling alternative to the frequently used albums in teaching. And areal discovery for pianists who want to play Schumann’s magnificent music.?