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). 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 providethe 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).

Fréderic Chopin’s stay with George Sand on Mallorca in the winter 1838/1839 was ill-fated. Yet Chopin still managed to finish his “Préludes” there which he had begun to compose in Paris. Today’s interpreter not only has to deal with numerous variantreadings but also with corrupt performance traditions. The “Préludes” are the first edition to be completed in our comprehensive Chopin revisions - the editor has taken the latest scholarly findings into account and in the musical text brings tolight “established” variants as well as others which are to be found in the sources. And there is another first here too: the printed volume contains a shorter critical report – the extensive version with all the details can be downloaded.The urtext edition of Chopin's preludes edited by Norbert Mullemann with fingering by Hermann Keller.

Roman Polanski’s successful film The Pianist has focused attention on the Nocturne in c sharp minor by Chopin. Our edition presents the work in two versions. One derives from the handwritten copy which was owned by Chopin‘s sister Ludwika. The other is a noticeably different original version found in Chopin’s original draft now preserved in the Chopin Museum in Valldemosa (Mallorca). It is your turn to play the music from The Pianist. This reasonably priced edition is extracted from the volume of complete Chopin Nocturnes (HN 185).? Frédéric Chopin is known worldwide as one of the leading musicians of the Romantic era. Nocturne In C Sharp Minor is another one of the Polish virtuoso pianist’s works written for the solo Piano. Firstpublished a quarter of a century after Chopin ’s death the piece is often referred to by its marking: Lento con gran espressione. Although always placed in close proximity to Chopin ’s other nocturnes thetitle Nocturne owes its existence entirely to Chopin ’s sister Ludwika whose handwritten copy of the piece is followed in this Urtext edition as the autograph manuscript is lost. A much differentoriginal version found in Chopin ’s initial draft is also presented as well as a preface in German English and French.

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

Besides two genuine cello hits from the pen of Felix Mendelssohn Bartholdy -- the Variations op. 17 and the Song without Words op. 109 -- this urtext edition contains a little sensation: the première publication of a delightful and previously unknown original piece for cello and piano. Mendelssohn wrote it down in the album of his friend the distinguished cellist Julius Rietz in 1835 while at the pinnacle of his creative powers. All cellists will be happy to welcome this Album Leaf into their repertoire.? Besides two genuine Cello 'hits' from the pen of Felix Mendelssohn Bartholdy – the ' Variations Op. 17 ' and the ' Song Without Words Op. 109 ' – this urtext edition contains a little sensation: thepremière publication of a delightful and previously unknown original piece for Cello and Piano. Mendelssohn wrote it down in the album of his friend the distinguished cellist Julius Rietz in 1835 while at the pinnacleof his creative powers. All cellists will be happy to welcome this 'Album Leaf' into their repertoire.

The Novelettes arose at roughly the same time as the Kinderszenen and share the same largely untroubled mood. Writing to Clara Wieck Schumann could exclaim I’ve written such a frightful amount of music for you over the past three weeks - pranks Egmontian tales family scenes with fathers a wedding in short extremely engaging things. Small wonder that the opus is one of Henle’s best-selling items. This thoroughly revised volume offers not only a newly edited musical text but a preface with background material on the work’s genesis and a detailed section of editorial notes.?An Urtext edition of Robert Schumann's Novelettes Op.21 as edited by Ernst Herttrich and fingered by Walther Lampe.

“A wonderful piece but very difficult – only a few will be able to master it …”. Since this pronouncement by Nicolai Rubinstein who nonetheless premièred it with bravura the work has unjustly been stuck with the label of “unplayable”. The wild almost demonic character of this “oriental fantasy” has certainly contributed to this reputation: through the use of Caucasian and Armenian folk idioms Balakirev calls forth a keyboard firework that aroused the admiration even of the Titan Liszt. Our edition provides today’s pianists with a musical text that is not only reliable and accurate but also clear and well-organised.? “A wonderful piece but very difficult – only a few will be able to master it …”. Since this pronouncement by Nicolai Rubinstein who nonetheless premièred it with bravura the work has unjustly been stuck with the label of“unplayable”. The wild almost demonic character of this “oriental fantasy” has certainly contributed to this reputation: through the use of Caucasian and Armenian folk idioms Balakirev calls forth a Keyboard fireworkthat aroused the admiration even of the Titan Liszt. Our edition provides today’s pianists with a musical text that is not only reliable and accurate but also clear and well-organised.

Suite for Wind instruments- Leos Janácek 's Mládí (Youth) Suite for Wind Instruments. Study score for Flute/Piccolo Oboe Clarinet (B flat) Horn (F) Bassoon and Bass Clarinet (B flat). Leoš Janá ek composed hisSuite for wind 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 thisUrtext edition – a cooperation 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 thefirst time and is thus able to give exact instructions for instance regarding the numerous tempo variants.

“One closes one’s eyes and is bedazzled by the sheer wealth of invention in this music!” The person who spoke so enthusiastically about Albéniz one of the founders of the Spanish national style was none other than Claude Debussy. The “Suite espagnole” for piano is surely his most popular work. It reflects the manifold rhythms and melodies of different Spanish regions – and in the last piece even Cuba is represented.The much loved composition “Asturias” was also included in the collection. This work now joins “Iberia” and the “Chants d’Espagne” in our much renowned series of Albéniz’ piano works.? “One closes one’s eyes and is bedazzled by the sheer wealth of invention in this music!” The person who spoke so enthusiastically about Albéniz one of the founders of the Spanish national style was none other thanClaude Debussy. The “ Suite Espagnole ” for Piano is surely his most popular work. It reflects the manifold rhythms and melodies of different Spanish regions – and in the last piece even Cuba is represented. Themuch loved composition “ Asturias ” was also included in the collection. This work now joins “Iberia” and the “Chants d’Espagne” in our much renowned series of Albéniz ’ Piano works.

For the editor of an Urtext edition Bach’s A minor violin concerto BWV 1041 presents few problems cleanly-written original parts exist from Bach’s Köthen (or early Leipzig) period. But beyond the guarantee of a reliable musical text the Henle edition scores points in terms of text layout thanks to a foldout solo part turning pages is made comfortable something that was previously a challenge because of the literally non-stop continuous sixteenth notes in the opening movement. Other publishers have since copied this idea. Only the piano reduction from Henle – in all three of Bach’s violin concertos – can be effortlessly performed off the page even by the lay musician. Piano reduction of the Orchestral part. Urtext edition.

Individual intrument parts for Mendelssohn's String Quartet In F Minor

Single Edition from HN 34-This work in two movements and dating from 1804 is clearly among the lesser-known of Beethovens 32 piano sonatas. The lack of a sonata-movement form the old-fashioned heading “In Tempo d’un Menuetto” of the opening movement and the motor rhythm of the following finale perplexed Beethoven’s friends and students. While even in the 19th century people were convinced that external circumstances had caused Beethoven to publish a “torso” today we believe that the composer was following a particular formal concept that consciously heightened the contrast between the two sections so powerfully that composition of a further movement was unnecessary for the balance of the sonata. Henle Urtext Edition of Ludwig Van Beethoven 's Piano Sonata No. 22 In F Op. 54 for solo Piano. Suitable for pianists at an intermediate-advanced level.

Fauré composed his violin sonata in 1875/76 and in so doing opened up a new tradition for this genre in French music. In a review Saint-Saëns expressed his enthusiasm for this work by his friend and pupil: In this sonata you can find everything to tempt a gourmet: new forms excellent modulations unusual tone colours and the use of unexpected rhythms. And a magic floats above everything encompassing the whole work causing the crowd of usual listeners to accept the unimagined audacity as something quite normal. With this work Monsieur Fauré takes his place amongst the masters.? Fauré composed his Violin sonata in 1875/76 and in so doing opened up a new tradition for this genre in French music. In a review Saint-Saëns expressed his enthusiasm for this work by his friend and pupil: 'In thissonata you can find everything to tempt a gourmet: new forms excellent modulations unusual tone colours and the use of unexpected rhythms. And a magic floats above everything encompassing the whole work causing the crowd ofusual listeners to accept the unimagined audacity as something quite normal. With this work Monsieur Fauré takes his place amongst the masters.'

This study edition complements the parts of the String Quartets op. 20 that have already been published in Henle Urtext (HN 208)- a new preface by Christin Heitmann provides illuminating background information. Haydn did not assign the nickname “Sun Quartets”: it alludes to an edition of the time in which the title page was decorated with a rising sun. The Quartets op. 20 are the last series in a group of earlier string quartets but are clearly ahead of their time. The demanding fugues which close three of the six quartets are a particular structural feature.?Joseph Haydn's String Quartets Op.20 were composed in 1772 according to the date of the autographs. They are the last group in the series of string quartets with the opus numbers 9 17 20 composed a long time after the earlystring quartets in the years around 1770. Following these compositions several years were to pass before once again before Haydn wrote his next string quartets for a long while following completion of Op.20 does not necessarilyimply that he was having a 'crisis'; it might have had to do with the increasing load on Haydn occasioned by the regular performances at the Eszterhaza opera house leaving him with little time for other activities.

Piano Sonata in C major K. 159 L. 104- Domenico Scarlatti is known as one of the best keyboard composers of all time. This piece of sheet music from Domenico Scarlatti's Piano Sonata in C K.159 L.104 is beautifully arrangedand clearly notated for the ease of the the pianist.

Teaching the piano was an important source of income for Brahms as it was for many nineteenth-century composers. This gave rise to collections of exercises which at first he only occasionally wrote down but later shared with other pianists (e. g.Clara Schumann). It was only after he had largely given up this educational and pianistic activity that he considered publishing them. In order to reflect their level he suggested “all kinds of instruments of torture from the thumb screw to theiron maiden” for the title page. We are now publishing this collection which is essential for Romantic piano playing as an Urtext edition following the musical text of the New Brahms Complete Edition.Teaching the Piano was an important source of income for Brahms as it was for many nineteenth-century composers. This gave rise to collections of exercises which at first he only occasionally wrote down but later shared withother pianists (e. g. Clara Schumann). It was only after he had largely given up this educational and pianistic activity that he considered publishing them. In order to reflect their level he suggested 'all kinds of instrumentsof torture from the thumb screw to the iron maiden' for the title page. We are now publishing this collection which is essential for Romantic Piano playing as an Urtext edition following the musical text of the New BrahmsComplete Edition.

The “Polonaise-Fantaisie” is among Chopin’s last great piano works and is a testament to his mastery and maturity. The out-of-the-ordinary title betrays the fact that Chopin was uncertain about which genre to assign it to. While the typical rhythm and noble character of the Polonaise repeatedly shine through the notes the Polonaise-Fantaisie is characterized above all by a great freedom in its thematic and formal aspects. The work brushes against a great variety of keys moods and motifs and leads into a grandiose closing apotheosis as if at the end of a long journey. Frédéric Chopin ’s Polonaise-Fantaisie In Ab Major Op.61 was composed and published in 1846 and is dedicated to Mme A. Veyret. The work was initially slow to gain favour with musicians due to itsintricate form and harmonic complexity. One of the first critics to speak positively about it was Arthur Hedley who wrote in 1947 that the work ' works on the hearer's imagination with a power of suggestion equaled only bythe F minor Fantasy or the fourth Ballade '. While Chopin is said to have referred initially to the piece only as a Fantasy the Polonaise-Fantasie takes its metre much of its rhythm and someof its melodic character from the polonaise. This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hans-Martin Theopold.

(First) Lodron Night Music-The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival anddeparture of the musicians on that occasion – it shares the same date of composition as the Divertimento is in the same key and is scored for the same instruments. Mozart later returned several times to this “First Lodron nightmusic” and posterity appreciated it too: the Divertimento was published just a few years after his death and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition however werethe two autographs. Here incidentally the lowest part is designated “Basso” which leaves open the question as to whether it was to be played by a cello a double bass or both – a typical case of “as you like it” in the music ofthe 18th century!

Missa C major op. 86-Ludwig van Beethoven composed his first-ever mass setting in 1807 to a commission from Prince Nikolaus II Esterházy: the Mass op. 86 for soloists chorus and orchestra. The occasion was the celebration of the name day of the Prince’s wife. In the temporal proximity of such famous works as the Fourth Piano Concerto the Violin Concerto and the Fourth and Fifth Symphonies he here created a work of an entirely different nature. He informed his publisher that he believed he had treated the text of the Mass “like it has seldom been treated”. This study score reproduces the full musical text of the Beethoven Complete Edition. The sources consulted for this edition arepresented in detail in the preface and the critical report.

Sonatas for Violin and Piano (Harpsichord) 4-6-As Court Music Director in Cöthen Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014–1019 which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here and the sonatas – together with Bach’s flute and viola da gamba sonatas – lay the foundation for the duo sonata in the modern sense as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol.The Sonata in G Major BWV 1019 exists in quite varying versions each with different individual movements. For this reason two older versions of the Sonata are published here in an appendix making this Urtext edition especially valuable for Bach enthusiasts too.