Wissenschaftliche Ausgabe

Piano Pieces

Masses No. 9 - 10 - Clothbound

Orlando Paladino - Dramma Eroicomico - 2nd part

Violin Concerto no. 5 A major K. 219

String Quintets - Score/Parts

Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis publication and source situation to thefirst-rate fingerings by Maestro Perahia. Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis publication and source situation to thefirst-rate fingerings by Maestro Perahia.

with Critical Report - Series I Volume 5-Complete Edition with critical report clothbound Abteilung I Band 5.

Violoncello Sonata F Major Op. 5 No. 1

Rondo in C major op. 51 no. 1-The two Rondos op. 51 were written independently of one another and only later consolidated into a single opus by Beethoven’s publisher. The first of these works from 1797 quickly became popular on account of how it combines simple catchy melody with surprising modulations and expressive dramatic eruptions within a compact form. With its moderate degree of difficulty the piece is ideal preparation before embarking on Beethoven’s piano sonatas. Based on her preliminary research for the critical Complete Edition Beethoven specialist Joanna Cobb Biermann has carefully revised the musical text of the Henle Urtext edition and updated the preface to reflect the latestscholarship.

At long last singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber Henle now offers baritones carefully arranged transpositions for low voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Piano Sonata no. 5 in c minor op. 10 no. 1-Decisive and manly ” most profound sentiment and delicacy ” and imaginative humour” – thus does Beethoven’s contemporary Carl Czerny accurately describe the three movements of this expressive sonata. As no autograph manuscript has survived the first edition of the three sonatas op. 10 published in Vienna in 1798 forms the sole basis for the revised Urtext edition of the Sonata in c minor. Yet another jewel stemming from the collaboration between Beethoven specialist Norbert Gertsch and star pianist Murray Perahia.

Symphony in D major Hob. I:104-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the London Symphonies” in early 1795 and is not only the concluding work but also the highlight of Haydn’s symphonic output overall. It firmly established the high standards of the genre for future generations of composers and probably Haydn’s most performed symphony to this day. This study edition adopts the musical text of the Haydn CompleteEdition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

In early 1878 Peter Tchaikovsky had just sent his opera “Eugene Onegin” and his Fourth Symphony on their way but had no intention of taking a creative break. On the contrary he immediately took up his pen and composed his Twelve Pieces op. 40 for piano. This cycle features various genres including piano pieces typical of the epoch such as etudes waltzes and mazurkas but they are also joined by pieces presumably connected with Tchaikovsky’s biography. These bear titles like “Au village” “Marche funèbre” and “Rêverie interrompe”. For this Urtext edition it was possible to consult the autograph engraver’s copy in the Glinka Museum in Moscow as well as rare Russianprints from 1879 and 1890 as described in detail in the preface.

aus der Partita Nr. 2 d-moll BWV 1004-Who isn’t familiar with Johann Sebastian Bach’s Chaconne the final movement in his Partita in d minor for Violin solo? Time and again composers have been inspired to make this exceptional piece accessible for other instruments. Perhaps thebest-known arrangement is by Ferruccio Busoni. Without distancing himself too greatly from Bach’s original he endeavours to transpose the virtuosity of the string writing onto the piano. Thus Busoni wrote for the piano in a way that congeniallymakes the most of the capabilities of the modern piano. Our Urtext edition not only takes into account the traditional sources but also meticulously analyses a piano roll in great depth on which Busoni himself can be heard. The fingerings wereprovided by none other than Marc-André Hamelin. J. S. Bach 's Chaconne From Partita No.2 D Minor arranged by Ferruccio Busoni for solo Violin. The final movement in Bach 's Partita the Chaconne in DMinor has inspired many highly-regarded composers over the years and there are several whom have sought to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni . Without distancing himself too greatly from Bach ’s original he endeavors to transpose the virtuosity of the String writing onto the Piano. Thus Busoni wrote for the Piano in a way thatcongenially makes the most of the capabilities of the modern Piano. This Henle Urtext edition not only takes into account the traditional sources but also meticulously analyses a Piano roll in great depth on which Busoni himself can be heard. The fingerings are provided by none other than Marc-André Hamelin.

Just as in his “Trout” Quintet (D 667) “Wanderer” Fantasy (D 760) and string quartet “Death and the Maiden” (D 810) in the flute variations on “Trockne Blumen” (D 802) Franz Schubert employs one of his songs as the thematic basis of an instrumental composition. “Trockne Blumen” (Dried Flowers) is the eighteenth song from the cycle “Die schöne Müllerin” (D 795) composed in autumn 1823. In January 1824 before publication of all of the Müller songs that summer the Theme and Variations in E minor for flute and piano were written prefaced by a weighty introductory section. The work remains Schubert’s single and singular virtuoso composition for flautists: tremendouslydifficult for the flute to play and incidentally sometimes very tricky for the piano to “accompany.” Schubert’s much-reworked autograph manuscript is the sole authoritative source for our Urtext as it demonstrably served as the engraver’s copy for the posthumously published first edition. One of the variations he crossed out entirely – the Henle Urtext edition reproduces it more for informational purposes than for performance in the appendix. A highly authoritative Urtext edition of Franz Schubert's Variations On 'Trockne Blumen' D.802 Op. post.160 for Flute and Piano as edited with critical commentaries by Wolf-Dieter Seiffert and fingered by Klaus Schilde.

Combining these two Schumann bestsellers seemed very natural: both of the titles not only reflect their inner association but the technical demands on the pianist are for once not so great (see the levels of difficulty). And both works are collections of more-or-less short succinct pieces that ever since their publication (in 1839 and 1848) were to “profoundly influence middle-class musical culture in the second half of the 19th century. To this day they have lost hardly any of their appeal” (Ernst Herttrich in the preface).Scenes From Childhood Op.15 and Album For The Young Op.68

Sonata no. 1 in d minor op. 75 for Piano and Violin-Originally planned only as a little duo for violin and piano the composition grew into a sonata in autumn 1885. The first performances were more than disillusioning for Saint-Saëns as the violinists came to grief with its virtuosic demands in particular those of the finale. He told his publisher that it would be called “the hippogriffsonata” implying that the violin part could only be played by a mystical figure. Since then the sonata has by and large lost its horrors and is now one of the best loved chamber music works by the French master despite or perhaps even because of its technical challenges. Our Urtext edition is the first to take into account all survivingsources for the work. Violin Sonata No. 1 D Minor Op. 75 was originally planned only as a little duo for Violin and Piano the composition grew into a Sonata in autumn 1885. Saint-Saëns implied that the Violinpart could only be played by a mystical figure. Violin Sonata No. 1 D Minor Op. 75 has lost its horrors and is now one of the best loved chamber music works by the French master.

The Menuett the Deutscher Tanz the Kontretanz and the Ecossaise were extraordinarily popular social dances during Beethoven’s lifetime. Thus along with sonatas and variations Beethoven on numerous occasions composed easy-to-play dances and dance collections for solo piano which are brought together in their entirety for the first time in our volume. Beethoven did not give these occasional pieces an opus number so today they are numbered only as WoO (Werke ohne Opus or works without opus). A few dances are piano arrangements of orchestral dances since piano reductions for home music-making were indispensable at that time. As is to be expected from a substantial Urtextedition the preface and Critical Notes for this important collection deal with the complex source situation of the individual pieces along with the question of the authenticity of these piano arrangements. This accurate and authoritative Henle Urtext edition contains the complete Dances for Piano by Ludwig van Beethoven.

Initially only conceived as a birthday album for his daughter Marie Schumann’s “Pieces for Piano” op. 68 received tremendous acclaim throughout the world. Is there a piano student who has not played part of them? It is however a less well-known fact that Schumann also composed a “music historical course of instruction” for the piano in this connection. We have included this and other pieces originally intended for the “Album” in the appendix to our painstakingly revised edition. Rounded off by the inclusion of Ludwig Richter’s illustration for the title page of the first edition and the trilingual print of the “Advice to Young Musicians” our Urtext edition offers a vividpicture of middle-class musical culture in Schumann’s times.? A highly accurate Henle Verlag Urtext edition of Robert Schumann's Album Fur Die Jugend (Album for the Young) Op.68 as edited by Wolfgang Boetticher and fingered by Walther Lampe.