Chopin’s early works include a wealth of new stimuli for anyone wishing to take a closer look at the creative works of the Polish genius. Up to now the four Rondos have been missing from our catalogue- but now they are finally available in Henle Urtext. Although they have been unfairly neglected there are real discoveries to be made. It is hard to imagine that Chopin was only 15 when his Opus 1 the Rondo in c minor was first published. Likewise his Rondo op. 5 which incorporates the exotic sounds of Polish folk music and the brilliant work in C major op. 73 were also written during his time in Warsaw. Without a doubt the young composer who was the darling of the Warsawsalons wrote these works as showpieces for himself. Here and also with the Rondo op. 16 his mark is unmistakable. Our Urtext edition is also available as an affordable study score.? Chopin's early works include a wealth of new stimuli for anyone wishing to take a closer look at the creative works of the Polish genius. Up to now the four Rondos have been missing from our catalogue; but now they are finallyavailable in Henle Urtext. Although they have been unfairly neglected there are real discoveries to be made. It is hard to imagine that Chopin was only 15 when his Opus 1 the Rondo in c minor was first published. Likewise hisRondo op. 5 which incorporates the exotic sounds of Polish folk music and the brilliant work in C major op. 73 were also written during his time in Warsaw. Without a doubt the young composer who was the darling of the Warsawsalons wrote these works as showpieces for himself. Here and also with the Rondo op. 16 his mark is unmistakable. Our Urtext edition is also available as an affordable study score. Rondo c minor op. 1 Rondo F majorop. 5 Rondo E flat major op. 16 Rondo C major op. post 73A

When it came to the genre of the string quartet Beethoven was a relative latecomer. He was already 28 years old when he obtained the contract for the composition of the Quartets opp. 18 from Prince Lobkowitz and 30 when he completed them. These are mature works that clearly distinguish themselves in their technical demands from say those of Mozart’s quartets yet on the other hand they orient themselves musically on Mozartian practice. The A major Quartet K. 464 obviously served as a model for Op. 18 no. 5. Be that as it may Beethoven’s six Quartets op. 18 are completely autonomous works that are on a par with many of the major contributions to this genre. In the1980s scribal copies – in which Beethoven had presented the quartets to his patron Prince Lobkowitz – once again became accessible. They represent a stage prior to the final version having richer dynamics and articulation marks that make them interesting from a performance practice point of view. As the autographs of the Six Quartets op. 18 are no longer extant these manuscripts assume a singular importance. This Henle Urtext edition is the first to take these manuscripts into consideration.

Piano Sonata in b minor-Following the revision of our facsimile of the Piano Sonata in b minor (HN 3227) in 2015 we are now proud to present the corresponding new Henle Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse severalpassages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s in which the composer had made entries in his own hand. Clara Schumann reacted with a lackof understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought everything confused.” Today we view this differently. Our new edition of this key piano work is further enhanced by the sophisticated fingeringssupplied by the piano titan Marc-André Hamelin. Following their revision of the facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 Henle is now proud to present the corresponding new Henle Urtext edition. With the help of the splendidfacsimile reproduction Henle has been able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt 's in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: It is only blind noise - not asingle healthy thought everything confused. Today we view this differently. This edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-AndréHamelin .

A short while ago Henle issued Mendelssohn’s second Violoncello Sonata op. 58. Now the first Sonata op. 45 is available for the first time as Urtext edition with a flawless music text. A preface and critical commentary provide detailed information on this major contribution to the romantic violoncello repertoire.? A short while ago Henle issued Mendelssohn ’s second Violoncello Sonata op. 58. Now the first Sonata Op. 45 is available for the first time as Urtext edition with a flawless music text. A preface andcritical commentary provide detailed information on this major contribution to the romantic Violoncello repertoire.

Edvard Grieg’s only Cello Sonata remains one of the best kept secrets among cellists. Grieg wrote it for his brother John an accomplished player of the instrument. Though not a string player himself by seeking advice during the compositional process Grieg was able to create an exhilarating piece that even advanced amateurs will be delighted to discover. Our edition also contains an early Intermezzo of 1866 as well as the first publication of Grieg’s own transcription of the Allegretto from his Violin Sonata op. 45 written as a birthday serenade for his brother John.? This Henle Urtext Edition contains Edvard Grieg's Sonata in A Minor Op.36 and a selection of other works all for Cello and Piano.

The Well-Tempered Clavier Part II-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). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions without fingeringsand as study editions.? The Henle Verlag urtext edition of The Well-Tempered Clavier Part II BWV 870-893 . Edited by Yo Tomita and with fingerings and notes on execution by Andras Schiff. The Well-Tempered Clavier is a major work of great breadth and depth and musical aesthetic and psychological diversity and complexity. This Urtext edition provides you with an accurate realisation of the composer's original intentions with thorough and detailededitorial markings and suggestions.

The high opus number suggests that it is a late work yet in reality the work comprises twenty single movements which were composed 10 to 15 years before publication. This means that they were written around the time of Schumann’s early masterpieces such as “Carnaval” op. 8 or the “Romances” op. 28 in the 1830s- but they remained unpublished. Following the tremendous success of the “Album for the Youth” op. 68 in 1848 Schumann’s piano music was once again in high demand. The composer therefore published a second selection of works enabling him to supplement his earnings. Thanks to this we have a charming collection of easy-to-play pieces of which the “Little Lullaby” (no. 6) hasbecome the most famous.? Robert Schumann's Album Leaves Op.124 edited for this authoritative Henle Verlag Urtext edition by Ernst Herttrich. Fingering by Walther Lampe. This wonderful collection comprises twenty fantastic compositions for Piano completed in December 1853.

Since their publication as Urtext editions the first two volumes of “Iberia” issued by G. Henle Publishers have become an established part of the pianists’ world. Now comes the third book in which Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music. In “El Albaicín” he evokes the mysterious atmosphere of the gypsy quarter in Granada followed by hints of temperamental Flamenco in “El Polo”. At the end Albéniz depicts the exuberant mood of a former Jewish quarter in Madrid (“Lavapiés”)- in so doing he intersperses the music with some dissonant dashes of colour an allusion to an organ grinder.?Since their publication as Urtext editions the first two volumes of “Iberia” issued by G. Henle Publishers have become an established part of the pianists’ world. Now comes the third book in which Albéniz once again fuses hisknowledge of European classical music with elements of Spanish folk music. In “El Albaicín” he evokes the mysterious atmosphere of the gypsy quarter in Granada followed by hints of temperamental Flamenco in “El Polo”. At the end Albéniz depicts the exuberant mood of a former Jewish quarter in Madrid (“Lavapiés”); in so doing he intersperses the music with some dissonant dashes of colour an allusion to an organ grinder.

Works for Piano four-hands Volume I-No other great composer has left so many works for piano four-hands as Franz Schubert – altogether 54 (32 of these with opus number): fantasies dances marches variations rondos sonatas etc. – Playing music together often in a social circle was a precious pastime of Schubert’s circle of friends. The young composer provided the musical background for these rousing concerts and exuberant performances. The pieces are chronologically arranged in the three Henle Urtext volumes showcasing Schubert’s piano duets. Volume I contains three very early pieces from the years 1810 to 1813 the other works stem predominantly from the greater part of the year 1818 and which include thesplendid Grande Sonate in B flat major D 617. The final section is comprised of two pieces from works that are chronologically difficult to situate and to lay down an exact time of origin one of these Allegro Moderato und Andante D 968 was occasionally also designated as “Sonatine” and was written most probably for instructional purposes.

Carl Maria von Weber's Concerto in f minor is among the compositions of first rank for solo clarinet and is permanently established in the world's concert repertoire. For purposes of comparison Norbert Gertsch's urtext edition with piano reduction presents the original solo part alongside Carl Bärmann's well-known version (both parts are enclosed in the volume). The accompanying notes offer a thorough discussion of the significance of these two versions and their relation to each other.? For Clarinet and Piano. Edited by Norbert Gertsch and Piano Reduction by Johannes Umbreit.

Mozart’s only piano sonata in E-flat major was probably written during his stay in Munich in early 1775. Its first movement – an Adagio unconventionally – is one of those pieces by the young genius that are immediately and profoundly touching. Two minuets follow inspired by the timbre of woodwinds and a quick finale in 2/4 with a striking opening motive concludes this masterwork of medium difficulty. Mozart’s clean manuscript copy is the only editorially relevant source all the early print editions having proved flawed.

for Flute or Violin and Continuo-“Methodical” was how Telemann’s six sonatas were described when they were published in 1732 because they included a second ornamented version of the simple melody line of the solo instrument for the slow opening movements and for the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointed new edition has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score whichalso features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as Henle Urtext editions. “Methodical” was how Telemann’s six sonatas were described when they were published in 1732 because they included a second ornamented version of the simple melody line of the solo instrument for the slow opening movements andfor the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointednew edition has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score whichalso features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as HenleUrtext editions.

Liszt‘s Funérailles is a broadly conceived virtuoso funeral march that has found a permanent place in the repertoire of all great pianists while remaining within the reach of talented amateurs. This separate print from Liszt‘s cycle Harmonies poétiques et religieuses (published by Henle in HN 639) opens with a new preface by the editor devoted specifically to Funérailles. Critical comments on the sources and on peculiarities of the musical text can be found at the end of the volume. Liszt ‘s Funérailles is a broadly conceived virtuoso funeral march that has found a permanent place in the repertoire of all great pianists while remaining within the reach of talented amateurs. Thisseparate print from Liszt ‘s cycle 'Harmonies poétiques et religieuses' (published by Henle in HN 639) opens with a new preface by the editor devoted specifically to Funérailles . Critical comments on thesources and on peculiarities of the musical text can be found at the end of the volume.

Edition without fingering-Each one of Bach’s six Partitas features seven great single movements predominantly in the sequence: Präludium – Allemande – Courante – Sarabande – [two free dances] – Gigue. These partitas can justifiably be described as Bach’s “ultimate” cycle of suites. As regards the artistic and manual demands it goes far beyond its “English” (HN 100) and “French” (HN 71)siblings that are also frequently played. It is no coincidence that Bach only had these six partitas printed (1731) and what is more as “Opus 1”.Three Partitas by J.S. Bach with text in German English and French.

With parts for Horn in E flat and F.-We not only owe three of Mozart’s horn concertos to his friendship with Ignaz Leutgeb- the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying string quartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the “Abduction from the Seraglio” allow us to suppose that it was composed around the same time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart’s intentions.? With parts for Horn in E flat and F. We not only owe three of Mozart's horn concertos to his friendship with Ignaz Leutgeb; the solo part of this unusual chamber music work was also written especially for him. Instead ofhaving two violins the accompanying string quartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the 'Abduction from the Seraglio' allow usto suppose that it was composed around the same time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondarysources affording important insights into Mozart's intentions.

In spring 1865 Brahms surprised his friends and acquaintances with 16 little waltzes for piano four-hands. He informed his friend the well-known critic Eduard Hanslick about this in April 1866 saying that his thoughts while writing them had been “of Vienna and its pretty girls” – which is also how they sound – light cheerful one is tempted to say “Schubertian.” They still enjoy great popularity today also for home music-making. Brahms also transcribed the waltzes for piano two hands (see editions HN 42 43).An Urtext edition of Johannes Brahms's sixteen Waltzes Op.39 for Piano duet as edited and fingered by Walter Georgii.

Once again Henle can boast of an important new addition to its Pantheon of great composers: Ernest Chausson. Based on a novella by the Russian novelist Ivan Turgenev the Poème for violin and orchestra was originally conceived as a symphonic poem. Gradually it evolved into a character piece with violin solo or to quote the composer a piece in very free form with many passages where the violin plays alone. That Chausson’s plan came off to perfection is proved by the work’s ever-growing popularity. The solo part of this new Henle volume satisfies the most rigorous criteria of an urtext edition. The piano reduction places a premium on playability and lies better under thefingers than ever before.? Violin with Piano reduction.

Felix Mendelssohn Bartholdy wrote three major works for cello and piano a task he particularly enjoyed since his brother Paul was a cellist. Following the early Variations op. 17 (1829) and the Sonata no. 1 in B flat major op. 45 (1839) the op. 58 grand Sonata (1843) qualifies as the high point in Mendelssohn’s oeuvre for cello. The Romantic composer Felix Mendelssohn-Bartholdy (1809-1847) has been highly regarded in Britain from the time of his first visit in 1829. He was a favourite of Queen Victoria and also made several trips to Scotland inspiring some of his best-known and most evocative works. Mendelssohn's Cello Sonata No.2 in D Major (Op. 58) was composed in 1843 for Cello and Piano. It is scored in four movements: AllegroAssai Vivace - Allegretto Scherzando - Adagio - Molto Allegro E Vivace . It is heavily influenced by Bach borrowing elements of both structure and melody from some of Bach's works. This Urtext edition ispublished by Henle Verlag.

J. S. Bach’s three gamba sonatas belong among the core repertoire of this low string instrument. They hark back to other works of his that were originally for different performing forces. What they all share is a strict three-part texture (gamba and two-voice keyboard). Our viola arrangement reflects Bach’s own arranging practice. Only in a few passages does the original gamba part descend below the viola’s tonal range and these can easily be resolved by moving the melody line to a higher octave.

Mazurkas nocturnes waltzes and polonaises constitute the core of Chopin’s expressive world. However he also moved comfortably beyond such genre cycles and pieces of this sort are brought together in this “Klavierstücke” book in which we find lesser-known works (two Variation cycles three Ecossaises) from Chopin’s earlier creative period along with rousing dance movements (Bolero and Tarantelle) and to finish the orchestrally conceived Allegro de concert. This forms the introduction to a sequence of three great individual works from Chopin’s middle and later creative periods: the Fantasie op. 49 the Berceuse op. 57 and the Barcarolle op. 60 – the finest Chopin availablein Henle paperback cloth-bound and study editions. Henle Urtext Study Score Edition edited by Hans-Martin Theopold.