Dances-Schubert at the piano with his inexhaustible wealth of dance melodies his friends around him dancing and playing jokes – this is one of the traditional images of Schubert that we so cherish. The term Schubertiade invented for this kind of get-together is now solidly established. In this selection of the loveliest and most frequently played dances one finds 59 waltzes 40 ländler or Deutsche as well as four écossaises and a minuet. In selecting the works care was taken to ensure that individual pieces of more or less the same level of difficulty are grouped together (from easy to medium: 3 to 5).Schubert wrote many Dances and Variations and while he composed these dances in groups the composer and his publishers often picked out individual dances and published them in other groups sometimes also altering andtransposing them. This pieces presented in this Urtext edition are compiled from authoritative sources giving you the most accurate representation of the composer’s original intentions. Available here is an Urtext editionof a selection of Dances by Schubert as edited by Paul Mies and fingered by Hans-Martin Theopold.

The most important source for Bach’s Cello Suites is a copy made by his wife Anna Magdalena because the autograph is no longer extant. As further copies show the actual musical text is scarcely problematic. However the slurs which are particularly important for string instruments are very inexact and compel the editor to make difficult decisions. Our practical edition HN 666 is in two parts. It not only offers the Urtext edition – with preface and critical commentary – but also a part for playing. The new study edition contains the Urtext part but in addition offers a reproduction of Anna Magdalena’s copy. This means that both cellists and music lovers alike are able toform their own opinion about the much discussed problems.? The most important source for Bach’s Cello Suites is a copy made by his wife Anna Magdalena because the autograph is no longer extant. As further copies show the actual musical text is scarcely problematic. However the slurs which are particularly important for string instruments are very inexact and compel the editor to make difficult decisions. Henle's practical edition HN666 is in two parts. It not only offers the Urtext edition – withpreface and critical commentary – but also a part for playing. The new study edition contains the Urtext part but in addition offers a reproduction of Anna Magdalena’s copy. This means that both cellists and music lovers alikeare able to form their own opinion about the much discussed problems.

Coriolan Ouverture op. 62- Urtext edition study score for Ludwig Van Beethoven 's Coriolan Overture Op.62 . Beethoven 's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Romanhero Coriolanus. This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807 however the playhad long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not – and he thus wrote one of the earliest and to-date best-lovedconcert overtures in musical history. The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.

Easy Piano Pieces - Classical and Romantic Period - I-With this rewarding “sampler ” beginners can enjoy a stimulating introduction to the standard canon of classical piano literature. The journey begins with little pieces by Daniel Gottlob Türk and compositions from Mozart’s early music books then goes on to Clementi sonatinas easy piano sonatas by Haydn a few single pieces by Beethoven and dances by Schubert to the first “romantic” works by Robert Schumann. Rounding off each volume are the helpful comments by the knowlegeable piano instructor Walter Georgii. They were selected in such a way that they do not exceed level 4 of difficulty.

Two lots of seven violin sonatas from the heyday of the 18th century French Violin School: Whoever plays these sonatas (with basso continuo) will go on a voyage of discovery to a musical continent that is today mainly visited by specialists. But it is worth it! All of these sonatas appeared in much sought after publications of the time and were played across Europe. The editor of both of these Urtext editions Gisela Meyn-Beckmann is a renowned connoisseur of the repertoire and has ensured that there is a great deal of variety. The artistic consultant and violinist Erno Sebéstyen who provided the fingerings and bowings for the solo part provides valuable individualsuggestions for performing them.

In this volume are to be found many small but pleasing piano pieces by the 19th-century composer Stephen Heller. The majority are of only medium difficulty but their sound always has a particular charm. In 1853 Heller wrote to his publisher that he “had not sought to write many words” here but wanted to suggest something “substantial and meaningful” in “just a few strokes”. Our volume provides valuable insights into Heller’s artistic development and is entirely devoted to the “character piece” a form that comprises the major part of his compositional output. Examples include “Die kleine Bettlerin” [The little beggar-girl] “Nach erquickender Rast” [After a refreshing rest] and“Weinendes Kind” [Crying child] – scenes that conjure up and express a particular mood. As Ursula Kersten writes in her preface Heller’s music already makes one think of Impressionism and repays the effort involved in getting to know the composer of this volume more closely.

This most famous funeral march in music history is part of a piano sonata the third movement of Chopin’s op. 35 Sonata in b-flat minor in which – according to Robert Schumann -- Chopin “brought together four of his most deranged children”. It was not long until the Funeral March – which was written two years before the sonata’s other movements of the sonata – was removed from this context and performed as an independent piece. This is also how it was heard in an orchestral version at Chopin’s own funeral in Paris on 30 October 1849. In addition to our edition of the complete op. 35 Piano Sonata (HN 289) we are offering this practical separate issue of the Funeral March inthe proven Henle Urtext format.

The names of the composers included here read like a “Who is Who” of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda J. Stamitz J. L. Dussek and J. B. Vanhal in their time names that were known throughout Europe and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colourful bouquet of worthwhile discoveries.The names of the composers included here read like a “Who is Who” of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda J. Stamitz J. L. Dussek and J. B. Vanhal in their time names that were known throughout Europe and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn Mozart and Beethoven. Yet the Bohemiansparticularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colourful bouquet of worthwhile discoveries.

During Joseph Haydn’s lifetime concertos for solo instruments and ensemble were generally written for a particular musician. In the case of Haydn’s violoncello Concerto in D major Hob.VII:2 this person was Anton Kraft first cello in the Esterházy ensemble and later one of Vienna’s greatest virtuosi. This composition for a particular occasion has become a masterpiece for the ages an autograph score by the composer survives dating from 1783. The services of Haydn specialist Sonja Gerlach have been obtained for this edition of the concerto with piano accompaniment. She enriches the Urtext edition with a detailed preface that also examines the execution of the ornaments andthe cadenzas.

This dark and tragic sonata in A minor composed in Paris in 1778 tends to be linked with the death of Mozart’s mother on 3 July 1778. While this of course cannot be ruled out not a single concrete piece of authentic evidence exists that points to such a connection. Use of a minor tonality as the compositional realization of a personal experience of pain is a sort of interpretation that also falls considerably too short Mozart’s art is far too multifaceted for it to be pinned so one-dimensionally to his biography. The sole authoritative source for the Urtext edition of this much-loved and much-played sonata is Mozart’s autograph manuscript (which in parts is difficultto decipher) as the first edition published in 1781 (together with K. 309 and 311) is riddled with errors.

Nocturnes-Time and again Chopin succeeded in giving different piano music genres their own individual characters whether etudes preludes waltzes scherzi or nocturnes. The Irishman John Field had already composed over 20 nocturnes which presumably greatly influenced Chopin. The latter continued to develop the light song-like piano writing and created works whose dreamy longing atmosphere came to embody Chopin’s music. Our volume contains the works that were published during Chopin’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharp minor – in two authentic versions. Time and again Chopin succeeded in giving different Piano music genres their own individual characters whether etudes preludes waltzes scherzi or Nocturnes . The Irishman John Field had alreadycomposed over 20 nocturnes which presumably greatly influenced Chopin . The latter continued to develop the light song-like Piano writing and created works whose dreamy longing atmosphere came to embody Chopin ’s music. Our volume contains the works that were published during Chopin ’s lifetime as well as ones which were only published posthumously including the famous Lento con gran espressione in c sharpminor – in two authentic versions.

Chopin composed his piano concertos around 1829/30 which means that to a certain extent they are the climax and conclusion of his student years in Warsaw. Both works are early masterpieces with which Chopin celebrated great triumphs on his first concert tours abroad and to this day the popularity of these piano concertos has remained unbroken. The Concerto in f minor - the first to be written - was not published until 1836 when Chopin was already firmly established in Paris. Compared with the e-minor concerto the source material is profuse: along with first editions and student copies the edition has also made use of what might be called a “half autograph” in which theorchestral parts stem from an unknown scribal hand while the piano solo part is written by the composer himself. The piano reduction also makes use of contemporary sources: this is an edition that offers Urtext quality at the highest level. For two Pianos. One is a reduction of the original orchestral score.

Two lots of seven violin sonatas from the heyday of the 18th century French Violin School: Whoever plays these sonatas (with basso continuo) will go on a voyage of discovery to a musical continent that is today mainly visited by specialists. But it is worth it! All of these sonatas appeared in much sought after publications of the time and were played across Europe. The editor of both of these Urtext editions Gisela Meyn-Beckmann is a renowned connoisseur of the repertoire and has ensured that there is a great deal of variety. The artistic consultant and violinist Erno Sebéstyen who provided the fingerings and bowings for the solo part provides valuable individualsuggestions for performing them. Volume 2. Henle Urtext Edition

A must for all ambitious string ensembles: this classic of the Henle catalogue has received a great many improvements based on the latest findings of scholarship. After years of research Beethoven‘s complete string quintets are now available in a thoroughly revised set of parts and an improved appearance on the page. Needless to say the parts are accompanied by a study score (HN 9267).?

The Sonata in E flat major Hob. XVI:49 is one of the masterpieces among Joseph Haydn’s sixty-or-so piano sonatas. It epitomises the Haydn sonata-type par excellence with inner serenity and clarity measured sobriety and – having regard to its large and richly structured opening movement – perfect form. For all that Haydn did not neglect his feeling for individual special touches seen here in the last movement a graceful minuet in rococo style. The distinguished Haydn researcher Georg Feder has edited this Urtext edition the fingerings by piano pedagogue Hans-Martin Theopold make it particularly valuable.

With this selection of piano variations from the Baroque and Classical eras we aim to facilitate the player’s discovery of a vast staple of literature which represents next to the sonata the most important group within the classical piano repertoire. Variations by the two Bach sons Carl Philipp Emanuel and Johann Christian Bach as well as by Georg Friederic Handel neighbour on three cycles by the great Viennese classics Haydn Mozart and Beethoven. Caution was taken so as not to surpass a medium level of difficulty (level 5).

Beethoven’s 32 piano sonatas are often referred to as the “New Testament of Music” (Hans von Bülow). Since the publication of our complete edition in two volumes experts have praised it as being the most reliable Urtext edition. Its contents: an almost inexhaustible wealth of pianistic musical flights of inspiration predominantly high profile works – the Sonatas “Pathétique” “Moonlight” “Storm” “Appassionata” “Waldstein” “Hammerklavier”. Even if one will never (be able) to play them all the acquisition of the “New Testament” is always worthwhile whether clothbound paperbound or as a study edition in Henle Urtext.The clothbound Urtext edition.

Eighteen piano sonatas survive from Mozart’s pen composed during his mature years between 1775 and 1789. They are usually grouped according to their first editions: (1) six sonatas K. 279–284 (2) three sonatas K. 309–311 (3) three sonatas K. 330–332 (4) sonata K. 333 (5) the Fantasy and Sonata K. 475/457 (6) the late sonatas K. 533/494 545 570 576. This Urtext edition bound in elegant premium light-blue cloth brings together all eighteen of Mozart’s piano sonatas in a single volume of over 300 pages. Ernst Herttrich the scholarly editor of Mozart’s piano sonatas has once more thoroughly compared the Urtext with all sources Hans-Martin Theopold is responsiblefor the pedagogically valuable fingerings. Henle Verlag Urtext edition of Mozart's complete Piano Sonatas. Cloth bound.

BWV 1001-1006-Bach’s six violin soli have come down to us in a particularly beautiful fair copy made by the composer himself. They along with the six cello suites are regarded as musical and technical milestones of musical literature. Bach skillfully employs the resources of the violin to produce genuine polyphony in some sections through the use of arpeggiated chords and double stops. The culmination of these achievements is the famous Chaconne from the second Partita which achieves great musical density while presenting the violinist with previously unheard-of technical challenges. The part marked by Wolfgang Schneiderhahn accommodates practical use and includes suggestions foraccords and arpeggios. J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. His Sechs Sonaten Und Partiten (BWV 1001-1006) werewritten before 1720 but not published until 1802 and only gained popularity towards the end of the 19th century. They are now regarded as the seminal work in the solo Violin repertoire and were among the first works to showcasethe technical abilities of the Violin. The Suite consists of 3 Sonatas each with four movements in the traditional slow-fast-slow-fast pattern and 3 Partias which vary with four to seven dance-likemovements. Contains two volumes with and without fingering.

Piano Concerto g minor op. 33-Written in one fell swoop and polished for ages: thus arose one of the most significant works of Czech piano music. Dvorák’s G-minor Piano Concerto was composed in barely two months in 1876 only to be refined for more than seven years before it finally appeared in print. As a result Dvorák’s handwritten score abounds in changes and corrections. The 141-page autograph bears impressive witness to the work’s extraordinarily difficult gestation. Besides the original text it contains annotations in lead red and blue pencil as well as red ink not to mention many passages hidden beneath pasted slips of paper. Until 1990 the score was owned by Dvorák’s heirs. At the instigation of thepianist András Schiff – and with his generous financial support – we can now present the first complete facsimile edition of this exhilarating document in a high-quality reproduction that uncannily resembles the original to the last jot. Readers are invited to track down and follow the stages in the work’s genesis. An ideal gift for the “Dvorák Centenary Year” in 2004 … and of course there after as well.