English Suites BWV 806-811-Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71) “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN9100). These six suites for keyboard are thought to have been the earliest set that Bach composed. Available here is a highly accurate Urtext edition of J.S. Bach's English Suites BWV 806-811 as edited with critical commentariesby Rudolf Steglich and fingered by Hans-Martin Theopold.

Für Klarinette Bassetthorn (2 Klarinetten) und Klavier-Favourite dish in exchange for favourite music – this perfectly summarizes the genesis of the Konzertstücke. When the clarinettist Heinrich Joseph Baermann and his son Carl who also played the basset horn stopped to pay a visit to Felix MendelssohnBartholdy in 1832 they came to a most curious agreement: they promised their composer friend a generous portion of “Dampfnudeln” (steamed dumplings) and “Rahmstrudel” (sweet-cheese strudel) that Mendelssohn was mad about if he were to write a piecefor them which they could use on their concert tours. The Konzertstück in f minor that originated in this fashion was followed shortly afterwards by a second one in d minor. Both are extremely effective works which wonderfully bring out the uniquesound and performance technique of the two instruments from the clarinet family.“Favourite dish in exchange for favourite music” – this perfectly summarizes the genesis of the Konzertstücke. When the clarinettist Heinrich Joseph Baermann and his son Carl who also played the Basset Horn stopped to pay avisit to Felix Mendelssohn Bartholdy in 1832 they came to a most curious agreement: they promised their composer friend a generous portion of “Dampfnudeln” (steamed dumplings) and “Rahmstrudel” (sweet-cheese strudel)that Mendelssohn was mad about if he were to write a piece for them which they could use on their concert tours. The Konzertstück in f minor that originated in this fashion was followed shortly afterwards by a second one in dminor. Both are extremely effective works which wonderfully bring out the unique sound and performance technique of the two instruments from the Clarinet family.

The substantial cycle published in 1853 unites splendid concert pieces (Bénédiction and Funérailles) and simple short compositions which partly make use of Gregorian modes. The volume was composed over a long period of time. As early as 1835 No. 4 was published in a compositionally revolutionary first version entitled Harmonies poétiques et religieuses after the volume of poetry with the same title by Lamartine. In 1853 Liszt distanced himself from the important early piece presenting it in a slightly smoother form as Pensées des morts although it still had considerable impact. Henle has reproduced the bold early work in the appendix to this volume (Bénédiction andFunérailles are available as separate editions HN 984 and 748). Henle Urtext Edition of Franz Lisz's Harmonies Poétiques et Religieuses for Piano solo edited by Ernst-Gunter Heinemann.

Wunderkind-Sonatas III K. 26-31-The Six Sonatas for Piano K. 26–31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were dedicated to Princess Caroline von Nassau-Weilburg. These jewels by the “Wunderkind” Mozart have only been known in the form of violin sonatas up to now (also see Henle Urtext edition HN 1079). Our edition for solo piano the first time it has ever been printed in this form is now available for piano teachers to make use of in their lessons as well as for all lovers of Mozart.The Six Sonatas for Piano K. 26–31 that can also have a violin accompaniment were composed in The Hague. They were published in 1766 and were dedicated to Princess Caroline von Nassau-Weilburg. These jewels by the “Wunderkind” Mozart have only been known in the form of Violin sonatas up to now (also see Henle Urtext edition HN 1079). Henle's edition for solo Piano the first time it has ever been printed in this form isnow available for Piano teachers to make use of in their lessons as well as for all lovers of Mozart .

Franz Schubert transformed five song melodies from his rich output of Lieder into instrumental music. The song “The Trout” from 1817 served as a theme for the variations in his Quintet D. 667 for piano violin viola violoncello and double bass one of chamber music’s most popular works. The piece’s sunny mood – it sounds much more cheerful than Schubert’s other chamber music – comes across like an echo of the felicitous summer months of 1819. The then twenty-two-year-old Schubert passed these in convivial company at Steyr in Upper Austria and subsequently set to work composing. The present Urtext edition largely follows the Viennese first edition which likely reproduces theoriginal version of the now lost autograph. In addition it takes into account the only manuscript source of this work a copy by Schubert’s friend Albert Stadler. Musicians everywhere will appreciate the optimally-placed page turns in the individual parts! Henele Verlag Urtext Study score edition of Schubert's 'Trout Quintet' or Quintet In A Op. Post. 114 D667 for Violin Viola Cello Contrabass and Piano.

Piano Sonata in E major K.380 L.23-“Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language. “Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord thesepieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of themost popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language.

During his summer holiday of 1842 Mendelssohn wrote four piano miniatures in each of the albums of two children to whom he was related. Years later he revised the pieces. In so doing he deleted two of them put the remaining ones in a new sequence and published them under the title “Children’s Pieces”. Mendelssohn died shortly before the edition was published in 1848. Even though published posthumously Mendelssohn initiated the first edition himself which is why it is the primary source for our edition. The two pieces that Mendelssohn did not include in his opus 72 are contained in the appendix.?During his summer holiday of 1842 Mendelssohn wrote four Piano miniatures in each of the albums of two children to whom he was related. Years later he revised the pieces. In so doing he deleted two of them put the remaining onesin a new sequence and published them under the title Children's Pieces . Mendelssohn died shortly before the edition was published in 1848. Even though published posthumously Mendelssohn initiated the first edition himselfwhich is why it is the primary source for this edition. The two pieces that Mendelssohn did not include in his opus 72 are contained in the appendix.

Clarinet Sonata op. 107-When Reger submitted his Clarinet Sonata op. 107 for printing he remarked: You immediately notice that the work was originally for clarinet (viola) but that it can also be played by violin and piano. He wrote the violin part himself adjusting it to suit the needs of the violin. Even before the first performance of the original for clarinet he had tried out the work with a violinist. Should the critics claim once again that it is incomprehensible - then these gentlemen are simply first class asses. The work sounds very good is intimate chamber music and not difficult to play together. There is nothing more to be said.?When Reger submitted his Clarinet Sonata op. 107 for printing he remarked: 'You immediately notice that the work was originally for clarinet (viola) but that it can also be played by violin and piano.' He wrote the violin parthimself adjusting it to suit the needs of the violin. Even before the first performance of the original for clarinet he had tried out the work with a violinist. 'Should the critics claim once again that it is incomprehensible -then these gentlemen are simply first class asses. The work sounds very good is intimate chamber music and not difficult to play together.' There is nothing more to be said.

Franz Liszt was a frequent guest of the acting cardinal at the Villa d’Este situated in Tivoli near Rome. His “Jeux d’eaux” describe the glittering fountains part of the water features at the villa- in measure 144 Liszt also added a quotation fromthe Bible to the musical text about the “water of life” thus giving the work a religious context. Maurice Ravel who was also inspired to write a composition “Jeux d’eau” (HN 841) thanks to Liszt gave his work a markedly secular accompanying text.Our new single edition from the third volume of the “Années de Pèlerinage” (HN 175) is a counterpart to our recently published Urtext edition of Ravel’s masterpiece.Franz Liszt was a frequent guest of the acting cardinal at the Villa d’Este situated in Tivoli near Rome. His “Jeux d’eaux” describe the glittering fountains part of the water features at the villa; in measure 144 Liszt alsoadded a quotation from the Bible to the musical text about the “water of life” thus giving the work a religious context. Maurice Ravel who was also inspired to write a composition “Jeux d’eau” (HN 841) thanks to Liszt gave hiswork a markedly secular accompanying text. This new single edition from the third volume of the “Années de Pèlerinage” (HN175) is a counterpart to Henle's recently published Urtext edition of Ravel’s masterpiece.

Next to the Moonlight and the Waldstein Sonatas the Appassionata is no doubt the most celebrated of Beethoven’s piano sonatas and claims with the latter two works a new high point in the composer’s piano oeuvre. With even Lenin weighing in with the words: “Such miraculous works can only be made by man ” what is there left to say! Curiously the nickname Appassionata appeared for the first time in 1838 in a transcription of the sonata for piano four-hands published by the Cranz Verlag in Hamburg although this designation did not originate with Beethoven it is nowadays inseparably connected with the work. It fits splendidly with the dramatic contrasts of the first movement thesolemnity and inwardness of the second and the demonic passion of the third. Henle Urtext Edition

Edition without Fingering-Hans von Bülow described Beethoven’s 32 piano sonatas as “Music’s New Testament”. Since its first appearance Henle’s complete two-volume edition (HN 32 and HN 34) has been valued by specialists as the most dependable Urtext and belongs in every pianist’s library. It contains an inexhaustible treasure of pianistic and musical mastery setting technically challenging works with a high level of name-recognition such as the “Pathétique” “Moonlight” “Tempest” “Waldstein” “Appassionata” and “Hammerklavier” sonatas alongside other less difficult works. HN 32 and HN 34 include Conrad Hansen’s much-admired fingerings; for those who want an Urtext edition without thefingerings Henle now offers HN 1032 and HN 1034. Ludwig Van Beethoven' s 32 Piano Sonatas were described by the German conductor and virtuoso pianist Hans von Bulow as Music's New Testament. Since its first release Henle'scomplete two-volume edition (HN32 and HN34) has been valued by specialists as the most dependable Urtext and belongs in every pianist's library. It contains an inexhaustible treasure of pianistic and musical mastery settingtechnically challenging works with a high level of name-recognition such as the Pathétique Moonlight Tempest Waldstein Appassionata andHammerklavier sonatas alongside other less difficult works. Henle's two original editions HN32 and HN34 include Conrad Hansen's much-admired fingerings. For those who want an Urtext edition withoutthe fingerings they are now releasing HN1032 and HN1034.

String Quartet op. 3-Alban Berg’s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920 it was the last composition the 25-year-old wrote under the tutelage of Arnold Schoenberg who admired “the fullness and unconstraint of his musical language the strength and sureness of its presentation its careful working and significant originality”. Even today the extremely complex work places the highest technical demands on the interpreters- for this reason our edition contains parts that are especially good to play from in which each musician can also follow what is going on in the other parts. Alban Berg ’s String Quartet can be considered to be one of the founding works of the Second Viennese School. Already composed in 1910 and first published in 1920 it was the last composition the25-year-old wrote under the tutelage of Arnold Schoenberg who admired “ the fullness and unconstraint of his musical language the strength and sureness of its presentation its careful working and significantoriginality ”. Even today the extremely complex work places the highest technical demands on the interpreters; for this reason this edition contains parts that are especially good to play from in which each musician can alsofollow what is going on in the other parts.

Ludwig van Beethoven’s three sonatas op. 2 stand at the beginning of his oeuvre but there is absolutely nothing tentative or “early” about them. Not a note could be changed strict logic rules every movement. Five years after Mozart’s death a new genius emerged here. The Sonata in C major op. 2 no. 3 from 1795 is large and brilliant more expansive than the two other sonatas of op. 2 and created for virtuoso effect. Its key of C major already has the celebratory victorious sound of the “Waldstein Sonata” and of the finale of the Fifth Symphony. It is now available as a separate edition in the quality one has come to expect of an Urtext.

clarinet part in B flat-Along with Robert Schumann’s identically titled op. 73 the Fantasiestücke of 1864 by the Danish composer Niels Wilhelm Gade are an essential part of the repertoire of all clarinettists. Gade lived in Leipzig for a long time and had been among Schumann’s close friends. With this deeply romantic composition he made an important contribution to establishing the clarinet as a chamber-music soloist. The four pieces in this collection can of course be performed separately and are ideal teaching material. Our editor the clarinettist Nicolai Pfeffer has drawn upon the German and Danish first editions and the autograph in Copenhagen as sources and consequently has been able toeliminate several discrepancies found in older editions. Along with Robert Schumann’s identically titled op. 73 the Fantasiestücke of 1864 by the Danish composer Niels Wilhelm Gade are an essential part of the repertoire of all clarinettists. Gade lived in Leipzig for a long time andhad been among Schumann’s close friends. With this deeply romantic composition he made an important contribution to establishing the clarinet as a chamber-music soloist. The four pieces in this collection can of course beperformed separately and are ideal teaching material. Our editor the clarinettist Nicolai Pfeffer has drawn upon the German and Danish first editions and the autograph in Copenhagen as sources and consequently has been able toeliminate several discrepancies found in older editions.

About three years after the publication of the second volume of his “Années de Pèlerinage” (Italy) Liszt added a supplement to this collection: the triptych “Venezia e Napoli”. For this he reworked two of four pieces which he had already composed in 1840 after a journey to Italy grouping them around an adaptation of the gondola song “Nessun maggior dolore” from Rossini’s “Otello”. It is diffi cult to imagine the piano repertoire without the furious “Tarantella” in particular which brings this supplement to a close after the two rather lyrical pieces “Gondoliera” and “Canzone”. With the publication of this supplement all works pertaining to the “Années de Pèlerinage” are nowavailable in Henle Urtext for the Liszt year.? About three years after the publication of the second volume of his “Années de Pèlerinage” (Italy) Liszt added a supplement to this collection: the triptych “ Venezia e Napoli ”. For this he reworkedtwo of four pieces which he had already composed in 1840 after a journey to Italy grouping them around an adaptation of the gondola song “Nessun maggior dolore” from Rossini’s “Otello”. It is difficult to imagine the Pianorepertoire without the furious “ Tarantella ” in particular which brings this supplement to a close after the two rather lyrical pieces “ Gondoliera ” and “ Canzone ”. With the publication of this supplementall works pertaining to the “Années de Pèlerinage” are now available in Henle Urtext for the Liszt year.

The Oboe Sonata op. 166 was the first of three wind sonatas that Saint-Saëns wrote in his fi nal year. Throughout his life he had been more familiar with keyboard and stringed instruments so the composer this time found himself in rather unfamiliar territory. Yet he instantly hit upon the infl ections and special characteristics of these instruments. To ensure that the parts refl ected the technical and tonal idiosyncrasies of each instrument he asked advice of wind soloists of his acquaintance before publication. His Sonata op. 166 met with the highest approval of the oboist- a passage in a letter bears witness to this: “It went like clockwork”. We were able to consult theautograph for the first time for this Urtext edition.? The Oboe Sonata Op. 166 was the first of three Wind sonatas that Saint-Saëns wrote in his final year. Throughout his life he had been more familiar with Keyboard and Stringed instruments so thecomposer this time found himself in rather unfamiliar territory. Yet he instantly hit upon the inflections and special characteristics of these instruments. To ensure that the parts reflected the technical and tonal idiosyncrasiesof each instrument he asked advice of Wind soloists of his acquaintance before publication. His Sonata Op. 166 met with the highest approval of the oboist; a passage in a letter bears witness to this: “It wentlike clockwork”. We were able to consult the autograph for the first time for this Urtext edition.

Piano Pieces-Throughout his life Mozart composed individual pieces for the keyboard. This wealth of material offers us an exceptional insight into his musical development. For the first time ever we are now offering all of these works in a single edition. Our edition has been completely revised taking into account the latest findings in Mozart scholarship. In many instances sources which have only recently been made available or which have been newly interpreted have formed the cornerstone of the revision. This has also led to the inclusion of works which were not in the previous Henle edition.? Throughout his life Mozart composed individual pieces for the Keyboard. This wealth of material offers us an exceptional insight into his musical development. For the first time ever we are now offering all of theseworks in a single edition. Our edition has been completely revised taking into account the latest findings in Mozart scholarship. In many instances sources which have only recently been made available or which have beennewly interpreted have formed the cornerstone of the revision. This has also led to the inclusion of works which were not in the previous Henle edition.

As a composer Alexander Glazunov was as at home in the late Romantic symphony as he was in chamber music forms. His shorter solo pieces impress on account of their enchanting melodies and their attention to detail which is also true of the Rêveriefor horn and piano. Glazunov was himself a good horn player and played in several orchestras as a young student. It was at this time that Glazunov composed this highly romantic work in which he showed off the melodious qualities of this instrument totheir best advantage. It is an effective recital piece even for advanced pupils and is being published for the first time as an Urtext edition; alongside the first edition we also consulted Glazunov’s autograph in the National Library of Russia inSt Petersburg for the first time. Reverie for Horn and Piano Op 24 with a preface in German English and French.

Whoever has experienced a major pianist performing this sonata live (the slow “Andante cantabile” middle movement is occasionally played as an encore) knows the grandeur and effect of this C major work which is only apparently modest in scope. It appeared in print during the summer of 1784 along with the famous sonata in A major (“alla turca”) K. 331 and the lyrical technically quite challenging sonata in F major K. 332. The three sonatas were probably composed only shortly before printing countering the assumption of earlier Mozart scholars. This first edition is editorially significant because numerous details deviate so markedly from Mozart’s manuscript that theycould only have come from their creator himself. In the C major sonata K. 330 this particularly applies to the slow movement the final bars of which with their doleful farewell are not to be found in the autograph. Henle Urtext edition of Mozart's Piano Sonata In C Major K.330 . Edited by Ernst Herttrich with Fingerings by Hans-Martin Theopold.

Gypsy Airs op. 20 for Violin and Piano-Following Paganini’s death numerous musicians strove to assume his position as the “devil’s violinist” but none of them were able to do so as convincingly as the Spaniard Pablo de Sarasate. His unique violin technique enthralled the public right from the start. So it was no surprise that Sarasate composed highly virtuosic pieces for his own use. Composed in 1877 the “Gypsy Airs” are in the form of a broadly conceived Hungarian Csárdás exhibiting all of the refinement of breakneck violin playing. They still present a challenge to all great violinists. We were able to win over a modernday sorcerer of the violin for our Urtext edition: Ingolf Turban who provided fingerings andbowings. Composed in 1877 the Gypsy Airs are in the form of a broadly conceived Hungarian Csárdás exhibiting all of the refinement of breakneck Violin playing. They still present a challenge to all greatviolinists. Spanish composer Pablo De Sarasate 's unique Violin technique enthralled the public right from the start. So it was no surprise that Sarasate composed highly virtuosic pieces for his own use.