Piano Sonata in b minor-Following the revision of our facsimile of the Piano Sonata in b minor (HN 3227) in 2015 we are now proud to present the corresponding new Henle Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought everything confused.” Today we view this differently. Our new edition of this key piano workis further enhanced by the sophisticated fingerings supplied by the piano titan Marc-André Hamelin. Following the revision of Henle's facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 they are now proud to present the corresponding new Henle Urtext edition. With the helpof the splendid facsimile reproduction Henle were able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a studentof Liszt's in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: It is only blind noise -not a single healthy thought everything confused. Today we view this differently. Henle's new edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-André Hamelin .

Works for Piano Four-hands-With the exception of the version of the “Grand Fugue” for piano four hands (HN 954) this volume contains all of Beethoven’s works for this scoring to which he only rarely turned. It comprises the Sonata in D major op. 6 the “Three Marches” op. 45 the “Eight Variations on a theme of Count von Waldstein” WoO 67 and the “Six Variations on the Song Ich denke dein” WoO 74 – all of these works are very well-suited to piano teaching. The musical text was revised to follow the recently published Critical Report of the Beethoven Complete Edition and is now accompanied by new explanatory texts. The piano duo specialist Andreas Groethuysen has also provided fingerings for this work.Works by this publisher are not included in the main catalogue.

The Urtext instrumental part of this edition is laid out as a combined flute and bass part (featuring the original basso continuo figures without realisation). This manner of reproduction is oriented on the historical sources. Thus it is possible for an experienced continuo player to improvise a free accompaniment of his own to the sonata. Two copies of this dual part are included in this Henle edition so that both players flautist and accompanist can perform from this combined musical text. In addition to the basso continuo figures the score offers a historically appropriate basso continuo realisation that can be played at sight. In order to avoid page turns within themovements the instrumental part is provided with a fold-out panel and a blank page.

Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of the influence of Johann Christian Bach’s works. A score of this concerto has not survived- all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment- however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now be performed in itssurviving form – by a pianist without an orchestra. Aside from the five great piano concertos it is easy to forget that Beethoven had already turned to this genre in Bonn during his youth. The Concerto in Eb written in 1784 still shows stylistic signs of theinfluence of Johann Christian Bach’s works. A score of this concerto has not survived; all that remains is a copy of a piano part that was revised by Beethoven. It contains the solo part without any orchestral accompaniment;however when the piano is silent and orchestral tutti passages are interposed it incorporates a piano reduction of the orchestral part. Following the musical text of the Beethoven Complete Edition the piano concerto can now beperformed in its surviving form – by a pianist without an orchestra.

In his collections of Impromptus and Moments musicaux Franz Schubert impressively showed at the end of his life how a lyrical songlike form can be rendered on the piano. In spite of their simplicity his popular Impromptus op. 90 for example prove themselves to be consummate works of art and number among the most beloved pieces of Romantic piano music. The third Impromptu of op. 90 an Andante in G-flat major is a mysterious reverie in pianissimo. A peaceful melody hovers over a murmuring accompaniment of eighth-note triplets while the harmonies change very gently. This Urtext edition provides the work as a separate edition in the original key. To make it easier to play other editions often transpose it into G major which however diminishes the distinctive colour of this piece. Henle Verlag Urtext edition of Schubert's Impromptu In G Flat Op.90 No.3 for Piano solo.

Bach had a predilection for creating solo works for instruments that were more usually supplied with a keyboard accompaniment. It is thus only logical that as well as the violin and cello he also thought of making use of the typical melodic character of the flute in this way. Through the skillful use of broken chords he even succeeds in creating the illusion of polyphony. It soon becomes clear that Bach’s lyrical cantilenas are convincing even without the support of accompanying chords on a keyboard instrument. A high point in flute literature!

It is hard to believe that all of the five works included in this edition were previously unknown to musicians. So there are in fact unknown works by Beethoven for singers to discover! The five short vocal works for several voices are ideally meant to be sung by soloists accompanied by piano obbligato. There are three Serenades (Nos. 1–3) and two original arrangements of extremely well-known choral compositions namely the “Bundeslied” op. 122 and the “Opferlied” op. 121b.

Grieg’s Third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’s renown is its occurrence in Thomas Mann’s novel Doktor Faustus. The sonata has been growing more popular ever since its first publication and it is now high time for it to appear in an urtext edition from Henle. A preface and detailed editorial notes provide interesting background material on the work’s source tradition.? Grieg ’s third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’srenown is its occurrence in Thomas Mann’s novel 'Doktor Faustus'. The sonata has been growing more popular ever since its first publication and it is now high time for it to appear in an urtext edition from Henle. A preface anddetailed editorial notes provide interesting background material on the work’s source tradition.

Romances for Horn and Piano-Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier- Opus 36 in F major from 1874 was written for Henri Garigue. Despite the illustrious recipients they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words” that fully savour the typical romantic sound of the horn. Alongside the orchestral version Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advanced students. Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 waswritten for Henri Garigue. Despite the illustrious recipients they are not virtuosic showpieces but – as the term Romance suggests – short “Songs without words” that fully savour the typical romantic sound of the horn. Alongside the orchestral version Saint-Saëns also prepared a piano accompaniment for chamber music performances. Due to the fact that they are not overly technically demanding the Romances are also suitable for advancedstudents.

When Isaac Albéniz ’s work Sevilla was performed in Madrid in 1886 it not only brought the composer public recognition but also a commission to compose an eight-movement Suite espagnole for Piano (HN783). Although it took him a further 15 years to complete the latter Sevilla was already published in a single edition in 1886. Most people are probably not familiar with the original version of thisspirited miniature about the Spanish city and its native flamenco. This is because Albéniz captured the musical character so effectively that Guitar players immediately claimed the piece for themselves. ThisHenle Urtext edition gives pianists the chance to reclaim flamenco for the Piano.

At the end of the 18th century the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ’s hour of death- its focal point was the reading and interpretation of Christ’s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part only a few changes had to be made to the string parts. We present the arrangement for string quartet based on the musical text of the Haydn Complete Edition (in preparation).?At the end of the 18th century the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ’s hour of death; its focal point was the reading and interpretation of Christ’s last words. Haydn wascommissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success the publisher commissioned Haydn to make an arrangement for string quartet. As thewind instruments double the strings for the most part only a few changes had to be made to the string parts. Here is the Henle Urtext Study Score of Joseph Haydn's The Seven Last Words of Christ arranged for StringQuartet based upon on the musical text of the Haydn Complete Edition. Also available as part of a 12 part set including all Haydn's works for String Quartet Cat. No. HN9216

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 II contains a total of altogether 26 pieces 19 of which are comprised of four opera with three four and six individual pieces: Trois marches militaires four Ländler as well as Grandes Marches et Triosand Polonaises respectively. They date from the years 1818 to 1826. The unchallenged favorite in this book is the C major Sonata D 812 of the year 1824 also called Grand Duo. However without wanting to diminish the status of the other pieces we should point out that all seven marches are splendid compositions. The second volume of this Urtext edition of Franz Schubert's Works For Piano Four-Hands as edited by Willi Kahl.

String Quartet-Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicians who were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as “1er Quatuor”- showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.Debussy’s new string quartet received a very cool reception at its première in Paris in December 1893 performed by the famous Quatuor Ysaÿe. The critics were upset by its unusual harmonies and orchestral sounds and the musicianswho were later presented with it considered it “unplayable”. Nevertheless the work was able to establish itself in the years that followed and today belongs to the core chamber music repertoire. The work was published in 1894 as“1er Quatuor”; showing that the composer was at least toying with the idea of writing another such work at this time – yet he never did fulfil this promise.

Felix Mendelssohn Bartholdy 's Piano Trio Op. 49 . Additional Flute part.

Combining a piano concerto and a cantata in one work is an undertaking that requires true mastery. Ludwig van Beethoven succeeded in this with his “Fantasy for piano chorus and orchestra” in C minor op. 80 composed in 1808. Since the melody of the “Ode to Joy” from the finale of his Ninth Symphony can be heard here “in ovo” the Choral Fantasy is also referred to as the “Little Ninth”. This score edition of the work is supplemented in our handy study edition by the concert overture “Meeresstille und glückliche Fahrt” (“Calm Sea and Prosperous Voyage”) op. 112 and other short orchestral works (opp. 118 121b 122 WoO 95). This edition in the quality one expects of an Urtext offers the full musical text of the Beethoven Complete Edition. Also includes Op. 112 118 121b 122 WoO 95.

In Schumann’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for piano they remained unpublished at first. It was only after the resounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced by this. Some of the altogether 34 pieces were finally published under the title “Coloured Leaves” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version of this edition to reflect the latest inscholarly research. In Schumann ’s middle years there was a longer period in which he favoured larger groups of instruments. Although he composed a few single pieces for Piano they remained unpublished at first. It was only after theresounding success of the “Album for the Young” that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called “Spreu” (chaff) but the publisher was not convinced bythis. Some of the altogether 34 pieces were finally published under the title “ Coloured Leaves ” which quickly became a bestseller. As part of our Schumann revision we have now produced a new version ofthis edition to reflect the latest in scholarly research.

Chromatic Fantasy and Fugue d minor BWV 903 and 903a-Bach’s Chromatic Fantasy and Fugue BWV 903 and 903a is one of his most fascinating works. It was apparently already greatly admired during his lifetime for it survives in numerous copies which present some occasionally very different versions especially in the Fantasy. Bach seems to have revised it several times since there is no extant autograph one of these divergent versions of the Fantasy has been reproduced in the Appendix of the Henle Urtext edition. Bach Chrm Fntsy Fg Bwv903 Pf W/O Fng

Revised edition of HN 1169 without fingerings-All piano students are familiar with Bach’s two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to expressusing only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts to “achieve a singing style in playing” and to“acquire a strong foretaste of composition”. We are now presenting a new edition of this

Ausführlicher Kritischer Bericht (nicht in der Druckausgabe enthalten) zum kostenlozen Download- A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata In A Major (with the enduring “Turkish March”) surfaced inBudapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (thenew autograph does not contain the complete sonata). It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study thissonata without consulting our Urtext edition.

Robert Schumann once said that “when a German speaks of symphonies he is speaking of Beethoven”. With his nine symphonies Beethoven set a standard against which all subsequent composers measured themselves. Yet Beethoven initially oriented himself on the great masters Haydn and Mozart. Thus his Second Symphony in D major op. 36 of 1800–02 stands between the tradition of these masters and his own later innovations. For study purposes G. Henle here presents the Second Symphony in a small format score. It follows the musical text of the Beethoven Complete Edition. The specialist press wrote: “Quite apart from the critical merits of this edition ... it is a pleasure to readthese study scores owing to the brilliant typography and the generous yet clearly laid-out format”. Study Score