In Western Europe and soon thereafter in America Peter Tchaikovsky became perhaps the best-known most fêted of all Russian composers. In his extensive piano oeuvre he provided a significant contribution to the sophisticated salon music of the Romantic period. The sweetly wistful “Chanson triste” from the “Twelve Pieces of Moderate Difficulty” op. 40 from 1878 is of such cantabile character that it could be described as a song without words. As the most popular and most important piece from op. 40 it is presented here in a separate edition. With its very moderate level of difficulty the piece is suitable for use in lessons already at an early stage.

Piano Sonata no. 27 in e minor op. 90-“It is aside from two passages one of Beethoven’s easiest- but as far as the performance of individual passages and its whole spirit is concerned requires every kind of care” thus wrote a contemporary critic. And it is for this reason that Beethoven’s Sonata op. 90 is extremely popular today both with piano students and also with professional pianists. It provides enough challenges: for example the notorious tenth figures in the left hand and – in the words of a contemporary – “uniqueness striking twists and turns and an unfamiliar yet no less stringent composition”. Murray Perahia’s remarks and fingerings provide assistance in all of these areas from a very practisedhand. “It is aside from two passages one of Beethoven’s easiest; but as far as the performance of individual passages and its whole spirit is concerned requires every kind of care” thus wrote a contemporary critic. And it is forthis reason that Beethoven’s Sonata op. 90 is extremely popular today both with piano students and also with professional pianists. It provides enough challenges: for example the notorious tenth figures in the left hand and – inthe words of a contemporary – “uniqueness striking twists and turns and an unfamiliar yet no less stringent composition”. Murray Perahia’s remarks and fingerings provide assistance in all of these areas from a very practisedhand.

Ysaÿe’s Cello Sonata unlike its companion piece for violin solo has remained relatively unknown. All the same it merits special attention as it was written at the same time as the Violin Sonatas and has the same superior qualities of musicianship. Our edition draws on a previously disregarded autograph manuscript from a private collection that provides interesting insights not found in the original print. To accompany the publication of Ysaÿe’s violin sonatas which Henle will also issue in 2004 we are now offering the Cello Sonata in an urtext edition prepared by Christian Bellisario with detailed editorial comments. A brilliant addition to the repertoire forunaccompanied string instruments.? Ysaÿe ’s Cello Sonata unlike its companion piece for Violin solo has remained relatively unknown. All the same it merits special attention as it was written at the same time as the Violin Sonatas andhas the same superior qualities of musicianship. Our edition draws on a previously disregarded autograph manuscript from a private collection that provides interesting insights not found in the original print. To accompany thepublication of Ysaÿe ’s violin sonatas which Henle has also issued in 2004 we are now offering the Cello Sonata in an urtext edition prepared by Christian Bellisario with detailed editorial comments. Abrilliant addition to the repertoire for unaccompanied String instruments.

Septet E flat major op. 65-The septet was composed in 1879/80 commissioned for the Parisian Chamber Music Society “La Trompette”. Saint-Saëns had however hesitated for several years to comply with the request by the founder Émile Lemoine: “I could compose a concerto foryou for 25 guitars but for trumpet – impossible!” Not only is the instrumentation that Lemoine requested unusual – trumpet string quintet and piano – but also its stylistic proximity to Baroque suites. The septet in four movements which quicklybecame popular due to the catchy nature of the music proved to be the forerunner of numerous works in a neo-baroque style and is now published for the first time in a critical edition. Saint-Saens septet in E flat major op 65 for Trumpet String Quintet and Piano. With pull out parts. Includes a preface in English French and German.

In the late 1850s when Rossini was composing only for his own private pleasure he wrote a little elegy for double bass and piano that he entitled “une larme” (“a tear”). Its theme also served as the basis for a larger-scale set of variations for cello and piano. The importance that Rossini ascribed to this short piece for double bass is demonstrated not least by the fact that he made a richly ornamented dedication copy of it in 1858. This hitherto little-known source is in Russia and has now been consulted for the first-ever time for a critical Urtext edition. As in Henle’s other Urtext editions for this instrument the double bass specialist Tobias Glöckler has prepared aversion in solo tuning and orchestral tuning and added fingerings and bowings to the solo part. In the late 1850s when Rossini was composing only for his own private pleasure he wrote a little elegy for Double Bass and Piano that he entitled Une Larme (a tear). Its theme also servedas the basis for a larger-scale set of variations for Cello and Piano. The importance that Rossini ascribed to this short piece for Double Bass is demonstrated not least by the fact that he made a richly ornamented dedication copyof it in 1858. This hitherto little-known source is in Russia and has now been consulted for the first-ever time for a critical Urtext edition. As in Henle's other Urtext editions for this instrument the Double Bassspecialist Tobias Glockler has prepared a version in solo tuning and orchestral tuning and added fingerings and bowings to the solo part.

To commemorate the 200th anniversary of Robert Schumann’s birth an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works comprising six volumes are now available in paperbound or clothbound editions as well as a study edition set in a slipcase. Clearly ordered by opus numbers the complete edition includes not only all of Schumann’spiano works revised to reflect the latest scholarlyfindings but also informative commentary texts alternative versions and many things more. Contents: Exercises - Etüden in Form freier Variationen über ein Thema von Beethoven- Variationen über ein eigenes Thema in Es [Geistervariationen]Es-dur - Drei Fantasiestücke op. 111- Drei Klaviersonaten für die Jugend op. 118- Albumblätter op. 124- Sieben Klavierstücke in Fughettenform op. 126- Gesänge der Frühe op. 133 - Einsame Blume aus Waldszenen op. 82- Bunte Blätter op. 99On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces. Contents: Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111 Three Piano Sonatas for the Young op. 118 Album Leaves op. 124 Seven Piano Pieces in Fughetta Form op. 126 Gesänge der Frühe op. 133 'Einsame Blume' from Forest Scenes op. 82 Coloured Leaves (BunteBlätter) op. 99

Complete Bagatelles-Whenever one speaks about Beethoven’s piano music it is usually his sonatas that come to mind. However his other works for this instrument are of no less significance. Thus it is not a coincidence that Beethoven published the majority of his Bagatellen with an opus number as this went hand in hand with a certain regard for the pieces in question: they represent Beethoven’s lighter more accessible side disproving his all too hastily attributed reputation as a master of the weighty and serious. The present volume contains the complete Bagatelles of Beethoven which are here reproduced according to the edition of the Pianoforte works already issued by the same publisher (HN12). Progressingfrom his youthful works we here learn to know the Beethoven of the middle' period as manifested let us say in the virtuosity and power of the Bagatelles op. 33 nos. 5 and 7. In the Bagatelles op. 119 and 126 thesimple humanity and goodness of the late' Beethoven then speak to us in a conclusive form. This edition closely follows Beethoven 's manner of notation. In distributing the notes betweenthe two staves exactly as in the autographs (that is by abandoning the usual and more convenient change of clef which disturbs the visual uniformity of the notation) the vertical tonal connections and relationships are now moreeasily perceptible of the eye.

The first book of Albéniz’ four-part cycle “Iberia” has already been published in an acclaimed Henle Urtext edition and many pianists are now eagerly awaiting the remaining ones. The second book in this collection of melodious portraits of Spanish places is now available. In “Rondeña” “Almería” and “Triana” Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music although he hardly ever directly cites the latter but rather reinvents it in an authentic manner. The rhythmic and colourful effects will delight both players and listeners.? The first book of Albéniz' four-part cycle Iberia has already been published in an acclaimed Henle Urtext edition and many pianists are now eagerly awaiting the remaining ones. The second book in thiscollection of melodious portraits of Spanish places is now available. In Rondeña Almería and Triana Albéniz once again fuses his knowledge of European classical musicwith elements of Spanish folk music although he hardly ever directly cites the latter but rather reinvents it in an authentic manner. The rhythmic and colourful effects will delight both players and listeners.

Aus Preludes I für Violine und Klavier- The first volume of Debussy ’s Préludes for Piano (HN 383) was published in 1910 and was soon followed by arrangements for various scorings commissioned by the original publisher. Debussy personally transcribedonly one Prélude Minstrels which was released in 1914 in a version for Violin and Piano. Back at that time “ Minstrels ” was the name given to comedians who performed in blackface andcaricatured the alleged behaviour of Blacks in America. The arrangement is of interest not only to pianists since Debussy intervened in the original musical text by adding variants but also to violinists who willdiscover charming and rewarding music of medium difficulty (5 of 9).

Attention string quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with op. 131 in c sharp minor and op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. The editor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late string quartets are scheduled for subsequent publication in the Gesamtausgabe.Franz Beyer the authority on string quartets with regard to this new issue: The most significant edition over the last twenty years worldwide!? Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven ‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Easy PianoMusic - 18th and 19th Century Volume II-With this Urtext edition compiled by the expert pianist and piano instructor Walter Georgii the budding pianist is offered a little overview of the variety of classical-romantic piano literature. The selection and organization is chiefly oriented on the beauty popularity and performability of the pieces. Behind this is the intent to present to the player in a way a colourful spectrum of interesting works ranging clear across the largest variety of eras Next to the “great” names one can also make surprising discoveries of less well-known composers. Volume II contains the technically more demanding pieces which lie between difficulty levels 3 and 5. I. Albeniz Zortziko from Espana op. 165; C. Ph. E. Bach Abschied vom Silbermannschen Clavier in einem Rondeau Wq 66; W. F. Bach Polonaise c from 12 Polonaises; L. van Beethoven Bagatelle C WoO 56; J. Brahms Intermezzo a op.76 7; F. Chopin Mazurka g op. 24 1 Nocturne g op. 37 1 Waltz b op. 69 2; M. Cipra Old Dance; A. Dvovak Humoresque Ab op. 101 3; F. Liszt Il Pensieroso from Annees de Pelerinage; F. Mendelssohn Bartholdy Allegro non troppo G op.72 1; W. A. Mozart Minuet D K. 355 (576b); M. Mussorgskij Im Dorf op. post. 70 15; F. Schubert Minuet Eb from Sonata op. post. 122 D 568; R. Schumann Walzer Larghetto and Elfe from Album Leaves op. 124; B. Smetana Polka poetiqueg op. 8 2.

Johann Pachelbel born in Nuremberg in 1653 a generation before Bach is one of Southern Germany’s most important post-Reformation organ composers. His compositions were already widely known at the time. The most popular work today is probably the canon with ensuing gigue in D major. The canon – according to the source “a 3 Violinis con Basso c.” – is built up over an ostinato bass whose two bar figure is repeated a total of 28 times. The following short gigue is also in a strict contrapuntal style. It is not known when the work was composed. As with most of his other chamber music works Pachelbel might have composed it during his time in Thuringia between 1677 and 1695.This pleasing work is also popular with amateur ensembles.? Johann Pachelbel born in Nuremberg in 1653 a generation before Bach is one of Southern Germany’s most important post-Reformation organ composers. His compositions were already widely known at the time. The most popular worktoday is probably the canon with ensuing gigue in D major. The canon - according to the source “a 3 Violinis con Basso c.” - is built up over an ostinato bass whose two bar fi gure is repeated a total of 28 times. The followingshort gigue is also in a strict contrapuntal style. It is not known when the work was composed. As with most of his other chamber music works Pachelbel might have composed it during his time in Thuringia between 1677 and 1695.This pleasing work is also popular with amateur ensembles.

“Wind music of a very special nature on a large-scale a composition by Hr. Mozart” – this was the way the “Wiener Blättchen” announced the concert in the National Court Theatre in which the clarinettist Anton Stadler was to hold his academy. There were twelve wind instruments supported by a doublebass which was a very unusual combination of instruments and the contemporary critics raved about it “Oh what an effect it made – glorious and grand excellent and exquisite!”. The title “Gran Partita” which was added to the autograph in an unknown hand also bears witness to admiration and respect. Our edition is based on the autograph which has changed hands many times andis today held in Washington. “Wind music of a very special nature on a large-scale a composition by Hr. Mozart ” – this was the way the “Wiener Blättchen” announced the concert in the National Court Theatre in which the clarinettist Anton Stadlerwas to hold his academy. There were twelve Wind instruments supported by a Double Bass which was a very unusual combination of instruments and the contemporary critics raved about it “Oh what an effect it made – glorious andgrand excellent and exquisite!”. The title “ Gran Partita ” which was added to the autograph in an unknown hand also bears witness to admiration and respect. Our edition is based on the autograph which haschanged hands many times and is today held in Washington.

Sonatas for Piano and Violin-Johannes Brahms began to manifest a keen interest in the genre of the violin sonata at an early age. In fall 1853 he offered the Leipzig publisher a violin sonata in a minor. The work was turned down however and the self-critical Brahms must have destroyed it himself later. He ultimately wrote his three major sonatas during his years of maturity: op. 78 in the summers of 1878/79 opp. 100 and 108 in the summer of 1886. The Scherzo in c minor was Brahms’ contribution to the violin sonata which he composed jointly with Robert Schumann and Albert Dietrich in 1853 as a surprise gift for the violinist Joseph Joachim and which is known under the name “F. A. E. Sonata.”With its sharp contrasts between the furious Allegro and emotional Più moderato sections the Scherzo piece is a beloved bravura showcase.

At last these two highlights of Liszt’s piano output are available in a good value “Urtext”! Every pianist knows the poetic highly virtuosic legends about Liszt’s famous namesakes “St. Francis of Assisi preaching to the birds” and “St. Francis of Paola walking upon the waves”. Liszt draws on all the resources of sound-painting to depict these holy events vividly. Both pieces are preceded by detailed explanations for the interested player in which the composer tells how he was inspired to compose this music. We print these texts in their French and Italian originals and have added a German and an English translation.?Henle Urtext Edition completed by Ernst-Gunter Heinemann.

Though the autograph has disappeared this posthumously published waltz is a jewel of Chopin’s art effectively combining dramatic passages with outpourings of lyricism. Despite its virtuoso brilliance it never overtaxes the pianist’s technique. This inexpensive volume is taken from Henle’s complete edition of the waltzes.? Though the autograph has disappeared this posthumously published waltz is a jewel of Chopin 's art effectively combining dramatic passages with outpourings of lyricism. Despite its virtuoso brilliance it neverovertaxes the pianist's technique. This inexpensive volume is taken from Henle's complete edition of the waltzes.

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.

Hoffmeister Quartet and Prussian Quartets-Finally the time has come: over the next few years all of Mozart’s 26 string quartets will be published by Henle in an Urtext edition of both score and parts. All previous editions have left much to be desired for example as concerns the correct placement of dynamic markings. Our edition made with the artistic collaboration of the Armida Quartet draws upon the large body of modern knowledge concerning Mozart philology and performance practice. We begin with what are chronologically speaking the final four quartets: the so-called “Hoffmeister” Quartet K. 499 and the three “Prussian” Quartets K. 575 589 and 590. It is possible that the impulse behind the composition ofthese last three works was the Prussian King Friedrich Wilhelm II who was an excellent cellist. Modern cellists will find many beautiful melodies to enjoy in them. Over the next few years all 26 of Wolfgang Amadeus Mozart 's String Quartets will be published by Henle in an Urtext Edition of both score and parts. All previous editions have left much to be desired for example asconcerns the correct placement of dynamic markings. Henle's edition made with the artistic collaboration of the Armida Quartet draws upon the large body of modern knowledge concerning Mozart philology andperformance practice. We begin with what are chronologically speaking the final four quartets: the so-called 'Hoffmeister' Quartet K. 499 and the three 'Prussian' Quartets K. 575 589 and590 .

The quartet in a minor is one of the chamber music works with which Schubert wanted to “pave the way to the great symphony” in spring 1824. At the same time he was paving his way to a wider audience as the “Rosamunde” Quartet was the first and onlystring quartet that was not only publicly performed in Schubert’s lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the workis the first edition. And this is precisely where the challenge lies as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved something which our new Urtext edition has done in anexemplary fashion. Its name can be traced back to Schubert’s incidental music to the play Rosamunde which can be heard at the beginning of the Andante. Quite a few people might however be reminded of the Impromptu in B flat major op. post. 142 no.3 in which Schubert later once again took up the beautiful melody. The quartet in a minor is one of the chamber music works with which Schubert wanted to pave the way to the great symphony in spring 1824. At the same time he was paving his way to a wider audience as theRosamunde Quartet was the first and only string quartet that was not only publicly performed in Schubert's lifetime but also published in parts. It is fortunate for us that this was the case because theautograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies as the parts exhibit some inaccuracies regarding the articulation anddynamics. They have had to be carefully resolved something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert's incidental music to the play Rosamunde which can be heardat the beginning of the Andante. Quite a few people might however be reminded of the Impromptu in B flat major op. post. 142 no. 3 in which Schubert later once again took up the beautiful melody.

Toccata op. 7-Schumann began work on the Toccata op. 7 when he was only 20 years old. At the time he was studying law following his family’s wishes. He did not however intend to have his first manuscript entitled “Exercice” published- it was only when he was finding his way as a musician that he turned to the sketches again. Similar to his approach with the Paganini studies he endeavoured to combine virtuosity with musical content. The print version of this “Toccata” differed greatly from the first ideas for the “Exercice”. The autograph of the final version is missing although the “Exercice” has survived in the form of Schumann’s manuscript. It is reproduced in the appendix of ourrevised edition.? Schumann began work on the Toccata Op.7 when he was only 20 years old. At the time he was studying law following his family's wishes. He did not however intend to have his first manuscript entitled 'Exercice' published; itwas only when he was finding his way as a musician that he turned to the sketches again. Similar to his approach with the Paganini studies he endeavoured to combine virtuosity with musical content. The print version of this'Toccata' differed greatly from the first ideas for the 'Exercice'. The autograph of the final version is missing although the 'Exercice' has survived in the form of Schumann's manuscript. It is reproduced in the appendix of thisrevised edition of the first publication.