Attention string quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with op. 131 in c sharp minor and op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. The editor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven‘s late string quartets are scheduled for subsequent publication in the Gesamtausgabe.Franz Beyer the authority on string quartets with regard to this new issue: The most significant edition over the last twenty years worldwide!? Attention String quartet players: the long wait is over! Henle launches its series of late Beethoven quartets with Op. 131 in c sharp minor and Op. 132 in a minor using the definitive urtext from the Beethoven Gesamtausgabe. It need hardly be added that great care was taken to find sensible page turns. The quartets will also appear simultaneously in miniature scores with exactly the same text and commentary. Theeditor Emil Platen has given each volume detailed critical comments consisting of a preface explanatory footnotes and an impressive section of editorial remarks. All of Beethoven ‘s late String quartets are scheduledfor subsequent publication in the Gesamtausgabe. Franz Beyer the authority on String quartets with regard to this new issue: 'The most significant edition over the last twenty years worldwide!'

Sonatas op.120 for Clarinet and Piano-In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl adding “It would be really wonderful if you brought your B flat clarinet with you and if you were in no great hurry” – for thetwo Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: “The sonatas [...] are wonderful and will cause a great sensation”. This edition of thiswork today part of the clarinettist’s core repertoire continues the revision of Brahms’s Duo Sonatas following the text in the new Brahms Complete Edition. In 1894 Johannes Brahms asked the clarinettist Richard Muhlfeld to visit him during his beloved summer sojourn in Ischl adding It would be really wonderful if you brought your B flat Clarinet with you andif you were in no great hurry - for the two Sonatas Op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: Thesonatas [...] are wonderful and will cause a great sensation. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the Clarinet repertoire.

In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “Slavonic Dances” led to his international breakthrough. “Furiant” “polka” “soudeská”: all are written with consummate mastery and dazzling formal sophistication. Although the “Slavonic Dances” also became popular in orchestral arrangement they were originally written for piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honor the centennial of his death we are presenting his original version with a detailed commentary on the work’s sources and editorial problems.The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon to performers everywhere.? In 1878 Dvorák was commissioned to write something along the lines of Brahms’s “Hungarian Dances” but using the sounds of his native country. The resulting eight “ Slavonic Dances ” led to hisinternational breakthrough. “ Furiant ” “ polka ” “ soudeská ”: all are written with consummate mastery and dazzling formal sophistication. Although the “ Slavonic Dances ” also became popularin orchestral arrangement they were originally written for Piano four-hands. Yet the musical text Dvorák released for publication was anything but ideal. Now to honour the centennial of his death we are presenting hisoriginal version with a detailed commentary on the work’s sources and editorial problems. The fingering always a delicate matter in duet playing has been entrusted to Andreas Groethuysen with results that will prove a boon toperformers everywhere.

Now for the first time Henle publishes an urtext edition of this famous violin concerto (it is also the first German edition). The detailed preface provides exhaustive information on the work's genesis and sources. Ernst Schliephake has sought the advice of Ruggiero Ricci for the fingering and bowing marks and Johannes Umbreit has revised the composer's estimable piano reduction to make it more playable and to meet the main requirement of an urtext edition: maximum fidelity to the original orchestral score.?An authoritative urtext edition of Saint-Saens' Violin Concerto No.3 Op.61 for Violin with Piano reduction. Edited by Peter Jost.

Composed in Vienna in 1838 along with several other shorter pieces Schumann’s Arabesque has found a permanent place in the general piano repertoire. It may owe its lightness and grace to Schumann’s urge to rise up and become the favorite composer of all the ladies of Vienna. As a result the Arabesque is a prime example of entertainment music in the best sense of the word. The musical text of this new edition has been thoroughly revised and provided with an informative preface and editorial notes.Schumann’s Arabesque in C Op.18 is a delightful and sincere work and though often a favourite of the virtuosi is much loved among amateur pianists. This piece is full of character unfolding with a light and skippingtheme which later develops to evoke a pastoral and nostalgic tone. Available here is a highly authoritative Urtext edition of the score which presents and accurate realisation of the composer’s original intentions asedited with critical commentaries by Enrst Herttrich and finger by Walther Lampe.

This rousing Polonaise which is preceded by a nocturne-like Andante was originally a work for piano and orchestra. It was written at the same time as Chopin’s two piano concertos in e minor and f minor and breathes the same fresh youthful spirit. Since the orchestral part is subordinate and fulfills only an accompanying function the Polonaise lends itself brilliantly to performance as a solo piano piece and indeed is almost always performed as such in today’s concert halls. In this spirit – and following the first editions – our Urtext edition is laid out not as a piano reduction (with two piano systems) but contains only the solo part at those few passages where thesolo piano rests the orchestral accompaniment is reproduced in small print. Henle Urtext Edition completed by Ewald Zimmermann.

Villanelle for Horn and Piano-Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshing melodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn and piano: the later version with orchestralaccompaniment does not stem from the composer. Paul Dukas wrote his Villanelle as a demanding exam piece for the horn class of the Paris Conservatoire in 1906. The title referencing a cheerful traditional vocal genre that originated in 16th century Italy already shows that it is by no means a dry etude. Alongside the technical challenges (stopped notes fast scales playing without valves using natural horn techniques) the piece is successful because of its refreshingmelodies for which reason the Villanelle is still one of the most popular performance pieces for the horn. For our Urtext edition we consulted the autograph as well as the first edition that was originally for horn andpiano: the later version with orchestral accompaniment does not stem from the composer.

Which of his pupils did Haydn have in mind when he composed his humorous “Divertimento à due per il Clavicembalo solo”? It was written at a time when works for piano four-hands were still the exception – and instead of “Primo” and “Secondo” the oldest copies use the terms “La parte del Maestro” and “dello Scolare”. Haydn’s wit keeps surfacing- for instance in the idea that the teacher plays first then the pupil and in the last bars of the variation movement the hands of the players cross over without their being any musical necessity for this. Haydn’s sole work for piano four hands is now published in a revised edition based on the volume that has just appeared in the HaydnComplete Edition (HN 5501 and 5502). It is an excellent work for educational purposes but will also provide good sightreaders with a great deal of pleasure.? For Piano duet.

Trio in d minor op. 3- Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier inspired hit the Trio For Clarinet Op. 3 written in 1896 owes agreat deal to Zemlinsky ’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who following its first performance in Vienna enthusiastically recommendedthe trio to his publisher Simrock. As the autograph has disappeared Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous partly blatant engraver’serrors. Alongside the Piano score Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.

Did Mozart intend this work to be a duo for two bass instruments or – as the simple basso-like manner of the second part suggests – a sonata for bassoon and keyboard instrument? We will probably never know the answer because the autograph has gone missing. Our edition allows different instrumentation- it not only contains scores for the duo version but also one so it can be performed as a solo bassoon sonata following the style of the time with a figured bass realization. And cellists – who are not blessed with many works by Mozart – will appreciate the version of this endearing work for cello and figured bass.?Authoritative Henle Urtext Edition of Mozart's Sonata In B Flat K.292 for Bassoon Cello and Continuo.

Piano Sonata in d minor K.9 L.413-“Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord these pieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of the most popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language. “Bach’s Preludes are on holiday at the Mediterranean” – the wonderful alliance of polyphonic fluency and musical delight in Domenico Scarlatti’s piano sonatas could be described thus. Originally composed for harpsichord thesepieces exhaust the technical and tonal possibilities of keyboard instruments in such a refined manner that pianists have never been able to resist playing them on modern pianos whether grand or upright. We have chosen one of themost popular sonatas with a moderate level of difficulty (level 4/5) from our extensive three-volume Urtext edition (HN 395 451 476). This single edition is an asset for teaching and provide an ideal introduction to Scarlatti’sfascinating musical language.

15 well-known original pieces in progressive order of difficulty with practical comments-Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for a guided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for the piano. Naturally they are presented superbly in true Urtext.Edvard Grieg was a master of the Romantic miniature for piano and with his ten volumes of “lyric pieces” he more or less created a new genre all on his own. These works offer an abundance of wonderful pieces that are ideal for aguided return to the piano. It proved difficult to choose a selection of them for our volume. But we also offer well-known pieces from the orchestral suites From Holberg’s Time and Peer Gynt which Grieg himself arranged for thepiano. Naturally they are presented superbly in true Urtext.

Version for Double Bass and String Quartet-It is a bit of a paradox: one of Dragonetti’s showpiece “The Famous Solo” originally for double bass and orchestra is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its different versions. In this edition Tobias Glöckler presents Dragonetti’s autograph arrangement for double bass and string quartet for the first time. Once Dragonetti 's showpiece 'The Famous Solo' is largely unknown today. This cannot be down to the virtuoso work itself but is more likely due to the unclear source situation with its differentversions. In this Henle Urtext edition Tobias Glöckler presents the composer's autograph arrangement for Double Bass and String Quartet for the first time.

The single editions of Schubert's three a-minor sonatas and the little A-major sonata are now joined by the c-minor sonata thereby completing Henle's series of the late piano sonatas in affordable offprints from the reference edition (Schubert Piano sonatas II HN 148).? A highly authoritative Urtext edition of Franz Schubert's Piano Sonata In C Minor D.958 as edited by Paul Mies and fingered by Hans-Martin Theopold.

Revised edition of HN 1064 without fingerings-Bach’s Inventions and Sinfonias are rightly considered as indispensable to every pianist. In his famous preface to the collection Bach himself called it an “Instruction” which teaches students and keyboard lovers to “treatcorrectly” both two and three voices to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. To this end Bach created timelessly beautiful music which has lost nothing of its relevance to usnearly 300 years after its creation. We are now presenting a new edition of this classic collection which draws upon all known sources and offers the best in “instruction” especially with respect to the transmitted embellishmentvariants. The new Bach – ideal for pianists of every age

String Quartet no. 1 in e minor-When Smetana completed his Quartet in e minor in dark and dismal colours in 1876 he had already been completely deaf for two years. Which musician is not familiar with the fateful passage in the fourth movement in which Smetana symbolizes the beginning of his illness with a violin note in an extremely high position? The previous movements tell of happier times in his life- an extensive extract from a letter about this is cited in the preface to our edition. Smetana who at the time received a ridiculously small fee from his publisher could not foresee that this work would later be considered one of the most famous string quartets of all time.

Piano Sonatas Volume III (Early and Unfinished Sonatas)-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826 and finally to the three masterworks written shortly before his death which place him on a level with Beethoven as a composer of sonatas. The intensity with which Schubert approached the genre of the piano sonata meant that he left a large number of piano sonatas incomplete. Volume III of the three-part Henle Urtext edition contains – next to the earlysonatas from the years 1815-1818 – the fragments completed by Paul Badura-Skoda whose completions are highlighted each time by small cue notes. The Critical Report in the Appendix also provides precise information about the genesis of the individual works.

This “little” D-major sonata is somewhat the pansy (or violet?) among Mozart’s eighteen piano sonatas. It is “little” in dimensions when compared to the two other sonatas in the same key of D major (K. 284 and especially K. 576). It is very seldom heard in concert and in piano lessons too is played less frequently. Admittedly it is not enveloped by the tragic gloom of the Sonata in A minor K. 310 nor does it have a wonderfully heartfelt slow movement like the Sonata in C major K. 309 these being the two works with which it was printed in Paris in 1778. K. 311 however is pianistically “worthwhile” in many regards: in the opening movement one can practice several standardtechnical challenges (hand-crossings effervescent runs parallel sixths tremolos at large intervals etc.). The slow movement (“Andante con espressione”) hones expressiveness something that does not always come naturally to many keyboardists (a compositional trick also makes a surprise appearance at bar 25). With its lively 6/8 meter the finale in turn recalls not only the veritable “Hunt Sonata” K. 576 but could almost have come from the solo part of a Mozartean piano concerto. All in all: a worthwhile challenge this sonata which sounds much harder than its technical demands require.

This “No. 1” of Mozart’s eighteen total piano sonatas is nevertheless not the very first one that he composed. It is well known that the “Wunderkind” Mozart had previously written at least four piano sonatas (K. Anh. 199–202) though these have never surfaced. And the sequence 1–6 of the piano sonatas K. 279–284 which were probably composed in Munich at the beginning of 1775 is based solely on Mozart’s retroactive numbering of them (with just the manuscript of the first movement of the first sonata having been lost). In the family correspondence these six sonatas are incidentally characterized many times as the “difficult sonatas.” That can scarcely be meant in atechnical sense but as the editor of the Henle Urtext edition Ernst Herttrich surmises might rather have alluded to their enormous “aesthetic interpretive demands ” given that “Mozart furnished … the six sonatas with exceptionally rich dynamic and articulation markings … more than any of his previous works.” Henle Verlag Urtext Edition of Mozart's Piano Sonata In C KV.279 .

Piano Sonatas Volume 2-Schubert’s 22 piano sonatas sketch a most illuminating picture of the prematurely departed composer and of his compositional path. From the first attempts of the gifted 16- to 19-year- old musician one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826 and finally to the three masterworks written shortly before his death which place him on a level with Beethoven as a composer of sonatas. Volume II of the three-book Henle Urtext edition contains not only the G major Sonata D 894 op. 78 with its glorious piano writing full of delicate expressiveness but also the three great sonata masterpieces in c minor A major and B flat major with which Schubert looks far into the future and which have long since taken their place in the classical canon of piano sonata literature. Paperbound edition Sonata G major op. 78 D 894 Sonata C minor D 958 Sonata A major D 959 Sonata B flat major D 960