With Frédéric Chopin’s Fantaisie-Impromptu in c-sharp minor G. Henle Verlag presents a further Urtext separate issue from among the most popular works of this central composer of romantic piano music. This ear-worm is “romantic” in the best sense: stormy iridescent cascades produced by refined rhythms surround the hymn-like melody of the middle section. It is hardly surprising that Chopin fans easily end up rhapsodizing! What is surprising however is that the piece still so popular today is untitled in the source materials and was not published until after the composer’s death. Moreover there exist two versions we print them both in our individual Urtext edition whichmakes it easier to compare them with one another. Published posthumously in 1855 the Fantaisie Impromptu In C# Minor Op. Post.66 is one of Chopin ’s most frequently performed and popular compositions. There was initially some mystery surroundingthe piece and why Chopin never published it during his lifetime. James Huneker trying to explain why the piece was not published calls parts of it 'mawkish' and 'without nobility' whilst Ernst Oster writes that atechnical exploration would show why Chopin did not publish the work and that exploration shows that the Fantaisie-Impromptu and Beethoven's Moonlight Sonata ('Quasi una fantasia') are related. Themystery may have been solved in 1960 when pianist Arthur Rubinstein acquired the 'Album of the Baroness d'Este' which had been sold at auction in Paris. The album contained a manuscript of the Fantaisie-Impromptu written in Chopin 's own hand and dated 1835. The title page for the manuscript states that the piece was 'Composed for the Baroness d'Este by Frédéric Chopin' and from this Rubinstein surmises that the words 'Composedfor' in place of a dedication imply that Chopin received a paid commission for the work. This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hans-MartinTheopold.

Well-Tempered Clavier II without fingering-The basis for the musical text of this edition without fingerings 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 with fingerings (HN 16) and as study editions without fingerings (HN 9016).?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 available as Henle Urtexteditions without fingerings and as study editions. 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).

Clarinet Quintet in A major K. 581-Ever since Mozart encountered the clarinet in Mannheim in 1778 he loved the instrument’s warm and expressive tone. His friendship with Anton Stadler the clarinetist in the Royal-Imperial Court Orchestra in Vienna prompted him to compose not only the Clarinet Concerto (K. 622) but also this “Quintet of Quintets” which was written two years before his death. Like almost all his works for the clarinet this Quintet was probably intended originally for the basset clarinet. However it survives only in two posthumous prints both of which call for a standard clarinet. These prints form the basis of our edition. As an added bonus the appendix contains a fragmentary Allegro in Bbmajor for the same combination of instruments.? Ever since Mozart encountered the Clarinet in Mannheim in 1778 he loved the instrument’s warm and expressive tone. His friendship with Anton Stadler the clarinetist in the Royal-Imperial Court Orchestra in Vienna prompted him to compose not only the Clarinet Concerto (K. 622) but also this “Quintet of Quintets” which was written two years before his death. Like almost all his works for the Clarinet this Quintet wasprobably intended originally for the Basset Clarinet. However it survives only in two posthumous prints both of which call for a standard Clarinet. These prints form the basis of our edition. As an added bonus the appendixcontains a fragmentary Allegro in Bb major for the same combination of instruments.

Vier Duette Goldberg-Variationen-The Clavierübung published in four sections belongs to the few works of Bach that he allowed to be printed during his lifetime. Part I which appeared in print in 1731 contains the six Partitas Parts II–IV were issued in 1735 1739 and 1741/2. These are the parts that form the basis for the compilation that we find in this volume. The Italian Concerto and the French Overture constitute Part II and in a way serve as a kind of echo of French and Italian orchestral music of the time here transposed to the keyboard. The Four Duets are contained in Part III of the Clavierübung next to important works for the organ however since they are conceived for two parts they are idealfor piano or harpsichord. Bach Ital Conc Fr Ovrtr Pf W/O Fingr

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin’s ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. Following the Préludes we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus- the detailed version can be downloaded from the Internet.? In 1836 Chopin introduced the term 'ballad' into Piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin ’s ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. Following the 'Préludes' we have now thoroughlyre-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

In the last years of his life Schubert increasingly succeeded in finding publishers for his works. His Impromptus and Moments musicaux for example appeared in print in 1827 and 1828. Probably to pick up on the success of these editions he wrote three further pieces in May 1828 though no less outstanding than their predecessors they were not printed until Brahms’edition of 1868 which is perhaps one reason – a completely unjustifiable one –why they are still not very well known today.

“I’ve had to turn out a serenade on short order”: these lines from Mozart to his father offer a glimpse into the everyday life of a composer dependent on patronage. Mozart was about to be married when he pulled this wind piece out of his hat. Yet the results are far removed from the detached courtly style of the serenade: the work one of the jewels of the wind repertoire opens full of earnestness and profundity in the gloomy key of c minor. The high opinion Mozart had of this octet is evident in the fact that he later arranged it for string quintet. “I’ve had to turn out a serenade on short order”: these lines from Mozart to his father offer a glimpse into the everyday life of a composer dependent on patronage. Mozart was about to be married whenhe pulled this wind piece out of his hat. Yet the results are far removed from the detached courtly style of the serenade: the work one of the jewels of the wind repertoire opens full of earnestness and profundity in the gloomykey of c minor. The high opinion Mozart had of this octet is evident in the fact that he later arranged it for string quintet.

Serenade for Flute Violin and Viola in D major op. 25-What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever the reason behind it opus 25 is one of Beethoven’s few chamber music works that did not have a bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding a publisher for his serenade- shortly afterwards he even turned to the work again and revised an arrangement for flute and piano (op. 41) which had been made by a third party. Our revised edition follows the musical text which will soon be published in volume VI/1 of our newBeethoven Complete Edition.? What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever thereason behind it Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding apublisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41) which had been made by a third party. Our revised edition follows the musical text which willsoon be published in volume VI/1 of our new Beethoven Complete Edition.

Leopold Mozart was only able to understand his son’s musical genius in terms of it being a God-given wonder: “That my boy […] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it cannot believe it”. In 1764 Wolfgang composed six sonatas in London – possibly after the model of Johann Christian Bach’s “Opus 2” – that can either be played as piano trios as violin sonatas or simply on the piano. “Royal” sources were consulted for the edition: the copy in the British Library bears the handwritten note: “This Volume belongs to the Queen 1788”.Leopold Mozart was only able to understand his son’s musical genius in terms of it being a God-given wonder: “That my boy [...] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoeverhas not seen or heard it cannot believe it”. In 1764 Wolfgang composed six sonatas in London – possibly after the model of Johann Christian Bach’s “Opus 2” – that can either be played as piano trios as violin sonatas or simplyon the piano. “Royal” sources were consulted for the edition: the copy in the British Library bears the handwritten note: “This Volume belongs to the Queen 1788”. With marked and unmarked string parts.

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin’s ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. Following the Préludes we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus.In 1836 Chopin introduced the term 'ballad' into piano music with the publication of his Ballad op. 23 although up to then it had only been used in literature and in vocal music. Indeed all four of Chopin'sballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work reaching a powerful climax at the end. This Henle Urtext edition has been revised to include the latestscholarly findings.

11 well-known original pieces in progressive order of difficulty with practical comments-Franz Liszt is still regarded as one of the greatest pianists of all time: a superb virtuoso whose own piano works also bristle with extreme technical difficulties. But no one needs to be afraid of big names. Our carefully chosen selection from Liszt’s immense oeuvre ranges here from the easy to the moderately difficult. These pieces are truly charming and well-suited for “ordinary mortals”. And for those who reach the end of the volume there’s a worthwhile reward: perhaps Liszt’s best-known piano piece the third “Liebestraum” ...Franz Liszt is still regarded as one of the greatest pianists of all time: a superb virtuoso whose own piano works also bristle with extreme technical difficulties. But no one needs to be afraid of big names. Our carefully chosenselection from Liszt’s immense oeuvre ranges here from the easy to the moderately difficult. These pieces are truly charming and well-suited for “ordinary mortals”. And for those who reach the end of the volume there’s aworthwhile reward: perhaps Liszt’s best-known piano piece the third “Liebestraum” ...

Very few musicians are aware of the fact that Beethoven arranged his violin concerto also as a piano concerto. It is only recently that some pianists have discovered this truly rewarding work. Clementi the London composer and publisher had heard about the première of the violin concerto and probably sensed its potential. He asked Beethoven for a piano version which was actually also published in 1808 at the same time as the original. Several important cadenzas had been especially composed for it- the one for the first movement is accompanied by the timpani – a unique and original touch! Our edition (piano reduction and study score) contains the text from the recentlypublished volume in the Complete Edition of Beethoven’s Works.? Very few musicians are aware of the fact that Beethoven arranged his Violin concerto also as a Piano Concerto . It is only recently that some pianists have discovered this truly rewarding work.Clementi the London composer and publisher had heard about the première of the Violin concerto and probably sensed its potential. He asked Beethoven for a Piano version which was actually also published in 1808 at thesame time as the original. Several important cadenzas had been especially composed for it; the one for the first movement is accompanied by the Timpani – a unique and original touch! Our edition (Piano reduction and study score)contains the text from the recently published volume in the Complete Edition of Beethoven ’s Works.

Piano Works Volume II-To mark the 150th anniversary of Debussy’s birth in 2012 we are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music it was important for us to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s we have steadily been publishing single editions of all of Debussy’s important works for the piano. Our editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the Danse bohémiennefrom 1880 all of the single works from our catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little encore we have included the Prélude to the cantata La Damoiselle élue in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy! To mark the 150th anniversary of Debussy’s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy’simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

Works for Piano four-hands Volume III-No other great composer left so many works for piano duet as Franz Schubert: altogether 54 (32 of which have an opus number) including fantasias dances marches variations rondos sonatas etc. Among Schubert’s circle of friends making music was a much beloved pastime. And even today musicians love to work with these pieces. In the three Henle Urtext volumes featuring Schubert’s four-hand piano music the works are arranged chronologically. Volume III contains nine pieces dating from the last three years of Schubert’s life thus his mature works in this genre. This includes the famous Fantasie in f minor D 940 (see also the individual edition HN 180)and the equally beloved Duo in a minor D 947 which was first published posthumously with the nickname “Lebensstürme”. Both date from spring 1828.

Urtextausgabe broschiert revised edition HN 123-Johannes Brahms’ summer sojourn in 1893 in Bad Ischl was productive. Alongside the pieces op. 118 he also wrote his last cycle of piano pieces opus 119. The composer wrote to Clara Schumann of the opening work saying that it was teeming withdissonances and that: “every measure and every note must sound like a ritardando as if one wanted to suck the melancholy out of each single one with lust and pleasure out of the aforementioned dissonances!” Yet opus 119 contains something for everymood: No. 3 surprises with its lively and light C major and the cycle is completed with the defiant rhapsody in E flat major. Our revised edition based on the Brahms Complete Edition is an invitation to pianists to rediscover Brahms’ complexcosmos. Johannes Brahms ’ summer sojourn in 1893 in Bad Ischl was productive. Alongside the pieces op. 118 he also wrote his last cycle of Piano pieces opus 119. The composer wrote to Clara Schumann of the opening work saying that it was teeming with dissonances and that: “ every measure and every note must sound like a ritardando as if one wanted to suck the melancholy out of each single one with lust and pleasure out of the aforementioneddissonances! ” Yet opus 119 contains something for every mood: No. 3 surprises with its lively and light C major and the cycle is completed with the defiant rhapsody in E flat major. This edition based on the BrahmsComplete Edition is an invitation to pianists to rediscover Brahms ’ complex cosmos.

Suite for Wind instruments- Leos Janácek 's Mládí (Youth) Suite For Wind Instruments. Parts for Flute/Piccolo Oboe Clarinet (B flat) Horn (F) Bassoon Bass Clarinet (B flat). Leoš Janá ek composed his Suite forwind instruments Mládí (in English youth) in 1924 so when he was over 70. Numerous sources still survive for this work making it difficult to establish the definitive musical text. For our Urtext edition – acooperation with Universal Edition Wien – Ji í Zahrádka from the Janá ek-Archiv in Brno succeeded in brilliantly surmounting this difficulty: he consults all of the handwritten sources for the edition for the first time and isthus able to give exact instructions for instance regarding the numerous tempo variants.

Klavierauszug-Now the Concertino and the First Clarinet Concerto are about to be followed by Weber’s Second Concerto in E-flat major edited by Norbert Gertsch. Once again the piano reduction contrasts the original solo part with the widely known version by CarlBärmann (both parts are separately enclosed). The accompanying preface offers a detailed explanation of the importance of both versions and how they interrelate. Now the Concertino and the First Clarinet Concerto are about to be followed by Weber ’s Second Concerto in E-Flat Major edited by Norbert Gertsch. Once again the Piano reduction contrasts the originalsolo part with the widely known version by Carl Bärmann (both parts are separately enclosed). The accompanying preface offers a detailed explanation of the importance of both versions and how they interrelate.

The Nocturne in e minor was written as early as 1827 and is among the Chopin juvenilia that were published only after his death. Julian Fontana Chopin’s long-time confidant and assistant in all areas of life published a considerable number of previously unreleased works as “Oeuvres posthumes” in the mid 1850s and guaranteed that he would edit these works faithfully according to the master’s manuscripts. In the case of the e-minor Nocturne however there are no manuscript sources so we are thankful to have become acquainted with this charming and melodious early work through Fontana’s edition. Our own Urtext edition is based upon it. The Nocturne In E Minor Op. Post.72 No.1 was Frédéric Chopin ’s first Nocturne to be written and his 19th to be published. The Nocturne was composed in 1827 and was published after Chopin ’sdeath in 1855. In his book The Life and Death of Chopin Casimir Wierzyknski explains more about the history of the piece: ‘ Up until then this form [the nocturne] had been the exclusive domain of John Field anIrish-born composer. But his Nocturne in E minor did not satisfy him [Chopin] and was published only posthumously .’ This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering byHans-Martin Theopold.

Arrangement For Piano-In 1786 Haydn was commissioned by the cathedral canon in Cádiz to write meditative music which was to be performed alternately with readings of Christ’s last words on Good Friday. Already in the spring of 1787 the orchestral version and an arrangement for string quartet (HN 851 and 9771) were published by Artaria in Vienna. Barely ten years later he also made an oratorio version which Henle has published as a study score (HN 9830). Although Haydn did not undertake the version for “Clavicembalo o Forte Piano” (harpsichord or fortepiano) himself he received the proofs and praised the piano reduction as being “very good and conceived with particular care”. In addition thisexpressive work is also extremely well-suited to being performed on the organ.? In 1786 Haydn was commissioned by the cathedral canon in Cádiz to write meditative music which was to be performed alternately with readings of Christ's last words on Good Friday. Already in the spring of 1787 the orchestralversion and an arrangement for string quartet (HN851 and HN9771) were published by Artaria in Vienna. Barely ten years later he also made an oratorio version which Henle has published as a study score (HN9830). Although Haydn didnot undertake the version for 'Clavicembalo o Forte Piano' (harpsichord or fortepiano) himself he received the proofs and praised the piano reduction as being 'very good and conceived with particular care'. In addition thisexpressive work is also extremely well-suited to being performed on the organ.

In the classical era and far into the 19th century piano trios were what we might call “fashion accessories”. It is thus no coincidence that Beethoven following in the footsteps of Haydn and Mozart took up this genre and created altogether 13 piano trios of his own. This second volume contains the two Piano Trios op. 70 and the Trio op. 97 as well as the Variations on the song “Ich bin der Schneider Kakadu” op. 121a. The nickname “Geistertrio” (Ghost Trio) of the Trio op. 70 no. 1 stems as usual not from Beethoven but was given to the piece no doubt because of the spooky mysterious sound of the slow movement. The Archduke Trio op. 97 was named after its dedicateeArchduke Rudolph and is undisputedly Beethoven’s most important composition of this kind. With a duration of over 45 minutes it is also his longest piano trio. Though written in 1810/11 it was not published until 1816.