Sonata no.1 in c minor op. 32-At the beginning of the 1870s Saint-Saëns showed a particular fondness for the violoncello. He completed his first cello sonata in December 1872 immediately after finishing his first cello concerto (see HN 711). The sonata is strongly reminiscent of Beethoven not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding in parts highly virtuosic sonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Our Urtext edition takes all surviving sources into account – for the first time ever. Pascal Rogé and David Geringas kindly providedthe markings for the piano and cello parts. At the beginning of the 1870s Camille Saint-Saëns showed a particular fondness for the Violoncello. He completed his first Cello Sonata in December 1872 immediately after finishing his first Cello Concerto. The sonata is strongly reminiscent of Beethoven not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding in parts highly virtuosicsonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire. Henle's Urtext edition takes all surviving sources into account – for the first time ever. PascalRogé and David Geringas kindly provided the markings for the Piano and Cello parts.

Edition without fingering-Although people might like to think that the “English Suites” were composed after the “French Suites” “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 (HN 9100).English Suites 4-6 by J.S. Bach with text in German English and French.

Six Partitas BWV 825-830-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 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 canjustifiably 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 nocoincidence that Bach only had these six partitas printed (1731) and what is more as “Opus 1'.

Fauré’s 13 Nocturnes form the most significant group of piano character pieces in his oeuvre. Despite their title – which places them in the tradition of John Field and Frédéric Chopin – Fauré here develops a genre all of his own. These are no dreamy scenes of the night but carefully structured iridescent pieces that alternate between lyrical elegance and passionate drama. Fauré composed the 6th Nocturne in 1894 while spending the summer at the house of his parents-in-law. With its strong contrasts of tempo metre and harmony it is by far the most significant and best-known of his Nocturnes. In a letter that he wrote after completing it Fauré wrote: “Modern piano music that isa little interesting is an extremely rare thing” – a state of affairs that seems to have been a good enough incentive for him to enrich the repertoire with his Nocturne op. 63! Fauré’s 13 Nocturnes form the most significant group of piano character pieces in his oeuvre. Despite their title – which places them in the tradition of John Field and Frédéric Chopin – Fauré here develops a genre all of his own.These are no dreamy scenes of the night but carefully structured iridescent pieces that alternate between lyrical elegance and passionate drama. Fauré composed the 6th Nocturne in 1894 while spending the summer at the house ofhis parents-in-law. With its strong contrasts of tempo metre and harmony it is by far the most significant and best-known of his Nocturnes. In a letter that he wrote after completing it Fauré wrote: “Modern piano music that isa little interesting is an extremely rare thing” – a state of affairs that seems to have been a good enough incentive for him to enrich the repertoire with his Nocturne op. 63!

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). 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 musicallanguage 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 sustainablemusical 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 theidentical musical text (HN 9100).

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.

More than a few experts and aficionados count Mozart’s string trio in E-flat major K. 563 among his most magnificent compositions. This masterwork entered into Mozart’s own catalogue of works on 27 September 1788 as a “Divertimento ” presents the Urtext editor with great challenges. The autograph manuscript has been lost since that time and no other first-rate source texts exist. The most reliable albeit clearly imprecise source is the first edition published two months after Mozart’s death. Many twentieth-century editions however unfortunately reprinted the musical text of Breitkopf & Härtel’s so-called “Alte Gesamtausgabe” (Old Collected Edition) which wasedited by none other than the violinist Joseph Joachim on the basis of incorrect copies and is therefore completely corrupt. Even the “Neue Mozart-Ausgabe” (New Mozart Edition) is not error-free. The Henle edition essentially follows the first edition though aided by numerous corrective interventions described in the Critical Commentary. The edition’s Appendix presents the surviving fragment of the string trio movement in G major K. Anh. 66 (562e). How unfortunate that Mozart never completed this equally wonderful music which continues a little beyond the exposition and thus may quite aptly serve as a short encore. The three individual parts offer optimal flow for reading and playing thanks to the artful apportioning of notes in their layout including for instance various foldout tables and individual pages left blank. The study edition (HN 9625) available separately provides the full score to this edition of the parts. Henle Urtext Study Score edition of Mozart's String Trio E Flat KV 563 edited by Wolf-Dieter Seiffert. For Violin Viola and Cello.

Asturias-Albéniz’ piano music is truly irresistible in particular because of its dance-like elements and its Spanish atmosphere. Asturias combines these elements in a most sophisticated manner. It first appeared in 1892 as the Prélude to the Chants d’Espagne (HN 782) and again in 1901 this time with the title Asturias in the Suite Espagnole (HN 783) and the piece soon became one of the composer’s best-loved works. Who isn’t familiar with the mysterious guitar sounds that conjure up a Flamenco scene in Andalusia? The piece has often been arranged but we are publishing it in the original Urtext version for solo piano – in an affordable single edition.Albéniz’ piano music is truly irresistible in particular because of its dance-like elements and its Spanish atmosphere. Asturias combines these elements in a most sophisticated manner. It first appeared in 1892as the Prélude to the Chants d’Espagne (HN782) and again in 1901 this time with the title Asturias in the Suite Espagnole (HN783) and the piece soon became one of the composer’s best-loved works. Who isn’tfamiliar with the mysterious guitar sounds that conjure up a Flamenco scene in Andalusia? The piece has often been arranged but we are publishing it in the original Urtext version for solo piano – in an affordable single edition.

für Klarinette 2 Violinen Viola und Violoncello-In 1890 Brahms had actually resolved to stop composing. Fortunately his acquaintance with Richard von Mühlfeld clarinettist of the celebrated Meiningen court orchestra led Brahms to step back from this idea in 1891 and to write together with the Clarinet Trio op. 114 his Clarinet Quintet op. 115 – two of the greatest masterpieces for this instrument. The first public performances in Berlin and somewhat later in Vienna were such a great success that Joseph Joachim acknowledged the Clarinet Quintet as one of the best works that Brahms had ever written. For the present Henle Urtext edition all relevant sources have as always been thoroughly analysed and Brahms’ owncorrections entered too.

Piano Trios-Piano trios belong among the great genres of Classical chamber music and Brahms too turned his attention to this genre early on. He wrote his opus 8 in fall and winter 1853/54 thus at the age of 20. The two other piano trios were created 28 years later namely op. 87 in C major and 32 years later op. 101 in c minor. Brahms was working on another Trio in E flat major at the same time that he was working on the C major Trio however it seems to have been destroyed. He returned to his first piano trio in 1889 and revised it so thoroughly that he wrote to Clara Schumann: “I have re-written my B major trio.” The Henle Urtext edition reproduces the second version of the Trioop. 8 (published in 1891) first then follows this up with a reprint of the first version in its Appendix.

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 and 590 .It is possible that the impulse behind the composition of these 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 thesequartets.

Liszt ’s Piano rhapsodies stand in the tradition of his transcriptions of operatic or song melodies yet employ folk dances and songs as their source material. Completed in 1864 Rhapsodie Espagnole is a late reminiscence of Liszt ’s extended travels to Spain and Portugal in 1844–45. On the basis of two popular Iberian dance tunes Folia and Jota Liszt here sets off fireworks of representative rhythms and tone colours with a highly virtuosic presto finale. The long inaccessible autograph manuscript of the composition is now accessible once more – an occasion for G. Henle Publishers to revise its Urtext edition.

Spanish music with a universal touch: that is what Isaac Albéniz set out to compose and he brought it off to perfection in his Iberia Suite. At last all four books of this late-romantic masterpiece will be issued in an urtext edition worthy of the name with top-quality appearance and engraving. Being manageable in their technique Evocation El Puerto and Fête-Dieu à Séville -- the three pieces in volume 1 -- are especially popular. Enjoy these pieces in the same manner as Debussy who wrote of Iberia: One closes one‘s eyes and is bedazzled by the sheer wealth of invention in this music!? 'Spanish music with a universal touch': that is what Isaac Albéniz set out to compose and he brought it off to perfection in his Iberia Suite. At last all four 'books' of this late-romanticmasterpiece will be issued in an urtext edition worthy of the name with top-quality appearance and engraving. Being manageable in their technique Evocation El Puerto and Fête-Dieu à Séville – thethree pieces in volume 1 – are especially popular. Enjoy these pieces in the same manner as Debussy who wrote of Iberia : 'One closes one‘s eyes and is bedazzled by the sheer wealth of invention in thismusic!'

Haydn‘s c minor Piano Sonata (Hob. XVI:20) has been called by the leading Haydn scholar Lászlo Somfai the most significant piano piece between Bach‘s death and Mozart‘s mature Viennese sonatas. Peter Gradenwitz goes so far as to place it at the head of the series of great piano sonatas of all time and Ulrich Leisinger devotes an entire chapter to it in his exhaustive study on the subject. Indeed with its deep expressivity and its novel and more intensive handling of dynamics this sonata marks a breakthrough in Haydn‘s fortepiano style. Now the c minor Sonata is available in an inexpensive single edition. The musical text is taken from volume 2 of the Complete PianoSonatas (HN 240) and volume 1 of the Selected Sonatas (HN 152).? Haydn ‘s C Minor Piano Sonata (Hob. XVI:20) has been called by the leading Haydn scholar Lászlo Somfai the most significant Piano piece between Bach‘s death and Mozart‘s mature Viennesesonatas. Peter Gradenwitz goes so far as to place it 'at the head of the series of great Piano sonatas of all time ' and Ulrich Leisinger devotes an entire chapter to it in his exhaustive study on the subject. Indeed with itsdeep expressivity and its novel and more intensive handling of dynamics this sonata marks a breakthrough in Haydn ‘s Fortepiano style. Now the C Minor Sonata is available in an inexpensive single edition.The musical text is taken from volume 2 of the Complete Piano Sonatas (HN 240) and volume 1 of the Selected Sonatas (HN 152).

Soprano Arias Duet WoO 93 Trio op. 116-The vocal works collected in this volume were composed for very different occasions. Several of them were tailor-made for female singers of Beethoven’s acquaintance- with others he was trying his hand at Italian opera (under the guidance of none other than Antonio Salieri). In addition to core repertoire pieces such as “Ah! perfido” op. 65 the volume also contains unknown treasures such as “No non turbarti” – “Ma tu tremi o mio tesoro?” a scene and aria which Beethoven revised several times. In our edition based on the Beethoven Complete Edition the last version of the aria is made available for musicians for the first time.?The vocal works collected in this volume were composed for very different occasions. Several of them were tailor-made for female singers of Beethoven’s acquaintance; with others he was trying his hand at Italian opera (under theguidance of none other than Antonio Salieri). In addition to core repertoire pieces such as “Ah! perfido” op. 65 the volume also contains unknown treasures such as “No non turbarti” – “Ma tu tremi o mio tesoro?” ascene and aria which Beethoven revised several times. In our edition based on the Beethoven Complete Edition the last version of the aria is made available for musicians for the firsttime. Contents: 'Erste Liebe Himmelslust' / 'Primo amore piacer del ciel' Aria for Soprano and Orchestra WoO92 'Soll ein Schuh nicht drücken' Aria for Soprano and Orchestra WoO 91/2 'Ah!perfido' - 'Per pietá non dirmi addio' Scena and Aria for Soprano and Orchestra op. 65 'No non turbarti' - 'Ma tu tremi o mio tesoro?' Scena and Aria for Soprano and Orchestra WoO 92a 'Ne' giorni tuoi felici' Duet forSopran Tenor and Orchestra WoO 93 'Tremate empi tremate' Trio for Soprano Tenor Bass and Orchestra op. 116

In the summer of 1894 Antonín Dvo ák interrupted his stay in America in order to spend his holidays back in his homeland of Bohemia. During those happy weeks he wrote his eight Humoresques for piano. But this music is not by no means as “Bohemian” as one might suppose. We know that Dvo ák had already sketched some of the material for these pieces in New York and there are also indications that the composer initially considered writing a series of Scottish dances. In other words these are thoroughly international pieces with an inflexion all of their own. And they are of a medium level of difficulty enabling pianists of all ages to discover a lot more than just thefamous catchy tune of no. 7. This Henle Urtext edition is based on the first print which the editors have carefully checked against the autograph. In the summer of 1894 Antonín Dvo ák interrupted his stay in America in order to spend his holidays back in his homeland of Bohemia. During those happy weeks he wrote his eight Humoresques for piano. But this music is not by nomeans as “Bohemian” as one might suppose. We know that Dvo ák had already sketched some of the material for these pieces in New York and there are also indications that the composer initially considered writing a series ofScottish dances. In other words these are thoroughly international pieces with an inflexion all of their own. And they are of a medium level of difficulty enabling pianists of all ages to discover a lot more than just thefamous catchy tune of no. 7. This Henle Urtext edition is based on the first print which the editors have carefully checked against the autograph.

Opus 132-No romantic poetry and no concrete fairytale figure occasioned Schumann to write this composition. Today we can assume that the title of the pieces originally entitled “Romances” was merely supposed to conjure up a poetic and fairytale world. Presumably inspired by Mozart’s “Kegelstatt” Trio K. 498 Schumann occupied himself intensively with plans for a work for this distinctive combination of instruments whose “unique effect” enthused him. Yet almost three years passed before he sent a publisher these works that he had “written with great pleasure”. The first edition contained a violin part as an alternative to the clarinet. As this part was authorized by Schumann it is alsoincluded in our Urtext edition.? No romantic poetry and no concrete fairytale figure occasioned Schumann to write this composition. Today we can assume that the title of the pieces originally entitled 'Romances' was merely supposed to conjure up a poetic andfairytale world. Presumably inspired by Mozart’s 'Kegelstatt' Trio K. 498 Schumann occupied himself intensively with plans for a work for this distinctive combination of instruments whose 'unique effect' enthused him. Yet almostthree years passed before he sent a publisher these works that he had 'written with great pleasure'. The first edition contained a violin part as an alternative to the clarinet. As this part was authorized by Schumann it is alsoincluded in this Urtext edition.

As the opus numbers suggest the five string trios are relatively early works. Beethoven had sent opus 3 to print in early 1796 and in the same year he began his compositional work on the Serenade op. 8 which was then followed by the three Trios op. 9. This marked the definitive close of Beethoven’s work on this genre. Nevertheless the five pieces are thoroughbred Beethoven and often played to this day. Also included in the volume is the piece designated in the autograph as “Duet for two obbligato eye-glasses” that Beethoven had apparently written for two myopic friends.

A few years ago we published the “Elephant” from the “Carnival of the Animals”. The curtain now rises for a further performance: the proud and elevated solo of the “Swan”. Charles-Joseph Lebouc organised the première of this work and also played the cello part. With the composer’s permission he then adapted this sonorous romance accompanied by two pianos in the original for violoncello and one piano. We are presenting the first ever Urtext edition of this popular cello work. The second piano part is reproduced in small print thus permitting a comparison of the two versions.?Charles-Joseph Lebouc organised the première of this work and also played the cello part. With the composer's permission he then adapted this sonorous romance accompanied by two pianos in the original for Violoncello and onePiano. Henle are presenting the first ever Urtext edition of this popular cello work. The second Piano part is reproduced in small print thus permitting a comparison of the two versions. Two Cello parts are provided onewith markings and one without.

It made its creator world-famous and added a towering masterpiece to the standard repertoire: Max Bruch’s First Violin Concerto in g minor. Now it’s appearing at last in an urtext edition from Henle. Bruch himself was not always overjoyed at his work’s popularity: I can’t listen to this concerto anymore he once complained to his publisher Simrock do you suppose I’ve only written one concerto? By now the Bruch Concerto has found a permanent place in the world’s concert halls. Henle’s edition provides not only a razor-sharp urtext for the solo part but a preface that alone is worth the price of the volume: who could have guessed that the concerto went through a convolutedgenesis with multi-layered revisions and that some of the changes go back to the famous violinist Joseph Joachim?? It made its creator world-famous and added a towering masterpiece to the standard repertoire: Max Bruch ’s First Violin Concerto In G Minor . Now it’s appearing at last in an urtext edition from Henle. Bruch himself was not always overjoyed at his work’s popularity: 'I can’t listen to this concerto anymore ' he once complained to his publisher Simrock 'do you suppose I’ve only written one concerto?' By now the Bruch Concerto has found a permanent place in the world’s concert halls. Henle’s edition provides not only a razor-sharp urtext for the solo part but a preface that alone is worth the price of the volume: who could haveguessed that the concerto went through a convoluted genesis with multi-layered revisions and that some of the changes go back to the famous violinist Joseph Joachim?