Italian Concerto French Overture Four Duets Goldberg Variations-The Clavierübung published in four sections belongs to the few works of Bach that he allowed to be printed during his lifetime. Part I which appeared in print in 1731 contains the six Partitas Parts II–IV were issued in 1735 1739 and 1741/2. These are the parts that form the basis for the compilation that we find in this volume. The Italian Concerto and the French Overture constitute Part II and in a way serve as a kind of echo of French and Italian orchestral music of the time here transposed to the keyboard. The Four Duets are contained in Part III of the Clavierübung next to important works for the organ however since they are conceived for two parts they are idealfor piano or harpsichord. A collection of some of Bachs finest compositions for solo Piano. Includes: Italian Concerto French Overture Four Duets Goldberg Variations.

This piano sonata – probably Haydn’s last – has unfortunately come down to us without an autograph. The composer in all likelihood offered the work and its publication rights to the London-based pianist Therese Bartolozzi (née Jansen). In any event and no doubt feeling entitled to do so she added the words “Composed expressively for and Dedicated to Mrs. Bartolozzi” before sending it off to print in fact she personally distributed the edition published in London in 1801 in copies with her signature. Like its companion work the Sonata in E-flat major Hob.XVI:52 the C major sonata was written in London in 1794/95 . However its central movement is based on an Adagiothat Haydn had composed in 1793 in Vienna and which Artaria published around 1794. The variants contained in this early version are reproduced as Ossias in our Urtext edition which is based on the text of the Haydn Complete Edition. Joseph Haydn 's Piano Sonata In C Hob. XVI:50 for solo Piano. Suitable for pianists at an advanced level.

Valses oubliées-The “Valses oubliées” belong to Liszt’s late work characterised by themes such as memory sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.?The “Valses oubliées” belong to Liszt’s late work characterised by themes such as memory sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludesto the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s but embed typical melodic and rhythmic clichés from salon waltzes in new harmonicprogressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. This new edition affords pianists an opportunity to discover all four waltzes and their characteristicidiosyncrasies. Valse oubliée Deuxième Valse oubliée Troisième Valse oubliée Quatrième Valse oubliée

Piano Sonata a minor op. 42 D 845-Schubert composed his piano sonata in a minor in May 1825 it is one of Schubert’s few piano works that was published during his lifetime. The four movements are expressive but each in its own way: a ballade style in the first piece a songful second movement surging restlessness in the third and eruptive passion in the final movement. Together however they constitute a uniform work. An Urtext edition of Franz Schubert's Piano Sonata In A Minor D.845 Op.42 as edited by Paul Mies with fingering by Hans-Martin Theopold.

A six-month tour through Spain and Portugal left its mark … Fascinated by the temperamental melodies of the Iberian peninsula Liszt integrated elements of this music into his piano works. The character of the “Rhapsodie espagnole” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-old theme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”)- both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.? A six-month tour through Spain and Portugal left its mark… Fascinated by the temperamental melodies of the Iberian Peninsula Liszt integrated elements of this music into his Piano works. The character of the“ Rhapsodie Espagnole ” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy one encounters Spanish noblesse and elegance. At the centre are the age-oldtheme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”); both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.

After a twelve-year interval Dvo ák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where agroup of Czech immigrants had settled thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation ofbirdcalls. Since the first performances certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans which led to the soon popular workbeing called the “ American Quartet ”. For the first time since 1955 the Quartet is once again being published in an Urtext edition.

Opus 23 Nr. 4-Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece an ideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings are by Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.Rachmaninoff’s Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece anideal introduction to the late-Romantic colourful sound world of Rachmaninoff’s 24 Préludes. The Henle Urtext editions of Rachmaninoff’s music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings areby Marc-André Hamelin who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.

Single Edition From Hn 404- This piece is straightforward in its construction but highly advanced in its harmonies and links up with the widely popular 19th-century tradition of the night piece or nocturne forpiano. Its themes and modulations are highly reminiscent of Gabriel Fauré but in its chromatic voice-leading and unusual treatment of metre - such as in the 7/4 central section - Debussy makes a statementall of his own. Nothing is known about the history of its composition. Debussy's 1892 contract with his publisher states merely that the composer had originally called it Interlude but then decided uponthe far more suitable title of Nocturne. One of Debussy's most popular early piano works it is now available in a Henle Urtext edition.

Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection “Canzoniere”. In these sonnets he expressed his adoration of Laura a mysterious female figure although it is not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume (“Italy”) of his “Années de Pèlerinage” (HN 174). The second Petrach sonnet no. 104 is particularly popular.?Petrarch co-founder of humanism and one of the greatest Italian poets left behind hundreds of sonnets in his collection 'Canzoniere'. In these sonnets he expressed his adoration of Laura a mysterious female figure although itis not even known if she really existed. Well over five hundred years later Liszt set sonnet nos. 47 104 and 123 to music creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume('Italy') of his 'Années de Pèlerinage' (HN174). The second Petrach sonnet no. 104 is particularly popular.

revised edition of HN 293-Unlike other late works by Franck the Violin Sonata of 1886 found a friendly reception among critics and public from the outset. It is dedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless violin technique. Ysaÿe was so inspired by the Sonata that he promised “I will play this masterpiece wherever I can find an artistically-minded pianist”. Nothing has changed to the present day regarding the work’s continuing popularity but it was time to revise Henle’s previous edition to reflect the latest research. In the intervening period it has been shown that Franck was actively involved in reading the proofs for the printed edition meaningthat the first edition which contains many differences from the autograph has become the basis for our new one. The markings of the violin part of our edition are by Yehudi Menuhin Daniel Hope has undertaken the changes required by the revised musical text. Whilst some late works by César Franck have received criticism the Sonata For Piano and Violin In A Major of 1886 found a friendly reception among critics and public from the outset. This work isdedicated to Eugène Ysaÿe who was attracting much attention at the time with his flawless Violin technique. Ysaÿe was so inspired by the Sonata that he promised 'I will play this masterpiece wherever I can find anartistically-minded pianist'. Nothing has changed to the present day regarding the work's continuing popularity but it was time to revise Henle's previous edition to reflect the latest research. In the intervening period ithas been shown that Franck was actively involved in reading the proofs for the printed edition meaning that the first edition which contains many differences from the autograph has become the basis for this new one.The markings of the Violin part of Henle's edition are by Yehudi Menuhin; Daniel Hope has undertaken the changes required by the revised musical text.

Piano Works Volume III-To mark the 150th anniversary of Debussy’s birth in 2012 we are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music it was important for us to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s we have steadily been publishing single editions of all of Debussy’s important works for the piano. Our editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the Danse bohémiennefrom 1880 all of the single works from our catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little encore we have included the Prélude to the cantata La Damoiselle élue in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy! To mark the 150th anniversary of Debussy’s birth in 2012 Henle are proud to present a tribute to his piano solo works in three volumes available as a paperbound or a clothbound edition. As a publishing house whose main focus ison piano music it was important for Henle to give a special place to the works of Claude Debussy the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy’simportant works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy’s elaborate music in high quality Urtext editions. Beginning with the'Danse bohémienne' from 1880 all of the single works from Henle's catalogue have been drawn together in these three volumes arranged according to their date of composition. And as a little 'encore' Henle have included thePrélude to the cantata 'La Damoiselle élue' in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from adifferent angle. In addition each volume contains a helpful glossary with all of Debussy’s often very vivid performance instructions translated into English and German. Bon anniversaire Claude Debussy!

On the 200th anniversary of Robert Schumann’s birth an ambitious project is coming to a close: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from our catalogue. Arranged clearly according to opus numbers it includes not only all of Schumann’s piano works revised to reflect the latest scholarly findings but also informative accompanying texts alternative versions and much more besides. On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Contents: Abegg Variations op. 1 Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834) Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9 Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111

Goldberg Variations BWV 988-The “Goldberg” Variations are without a doubt the most important piano cycle of the 18th century. Only Beethoven’s “Diabelli” Variations from the 19th century can be compared to them as far their far-reaching significance is concerned. Bach’s ownmanuscript might not have survived but the corrected first printing of the “Aria mit verschiedenen Veraenderungen vors Clavicimbal mit 2 Manualen” (thus the title) has done so. This first edition serves as the primary source for our edition -furthermore the musical text was compared to other sources as for example with Bach’s own record of the “Aria” (not yet referred to as such) in the little notebook for Anna Magdalena .An authoritative edition of Bach's widely celebrated and much-loved Goldberg Variations BWV 988 edited by Rudolf Steglich.

None other than András Schiff is collaborating with Henle Publishers for the edition of Mozart’s piano concertos. His piano reductions are aimed at amateurs rather than professionals- his fingerings for Mozart’s solo part have been exquisitely fine-tuned and are inspiring- and where Mozart’s original cadenzas are missing Schiff’s stylistically perfected ones have been included. In so doing we aspire to set a new precedent. First and foremost Mozart’s handwritten scores have been consulted being the most important sources. Moreover we know today that in addition to Mozart’s own manuscripts early copies in parts and prints also contain important information regarding themusical text. A co-production with Breitkopf & Härtel Mozart’s piano concertos are not only available as attractive and affordable piano reductions there are also an accompanying Urtext conductor’s score orchestral parts and a study score. Henle Verlag Urtext 2 Piano Score. Piano reductiuon of original orchestral accompaniment.

Edition without fingering-Johann Sebastian Bach was not only an extremely skilled composer but also an ingenious teacher. Even today many piano students learn the basics of technique with his “Inventions” und “Sinfonias” and at the same time the most important elements of “classical” music. Bach called the 15 two-part pieces “Inventions” and the three-part ones “Sinfonias”. He wrote a preface to the musical text dedicating it to “amateurs of the piano but in particular to those who desire to learn”. Bach’s preface and a table with the most common ornaments in the “Clavierbüchlein für Wilhelm Friedemann Bach” are also reproduced in the Henle edition. The complete collection of inventions andsinfonias (HN 64) is also available. Bach's Sinfonias 1-15 (Three Part Inventions) included in this edition were a part of what Bach described as his 'honest method by which amateurs of the keyboard - especially however those desirous of learning - are shown aclear way not only (1) to learn to play cleanly in two parts but also after further progress (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to developthe same well; above all however to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.' This Urtext edition makes use of the latest research and thus is as accurate aspossible. Recommended follow up to Bach's Two Part Inventions also published by G. Henle Verlag HN1169.

Following the first two volumes of Haydn’s string trios in a study score (HN 9424 und 9425) we are now publishing the third and final one. Although Haydn is said to have composed about 60 string trios most of them must be discounted for source-critical and stylistic reasons. The eighteen trios which definitely lay claim to authenticity were published in volumes 1 and 2. The third volume contains eight trios attributed to Haydn although his authorship cannot be proven. In addition to the Urtext edition (HN 628) these charming works are now also available in a handy score format. The musical text is that of the Haydn Complete Edition and it has been complemented by anew and informative preface by the Haydn scholar Sonja Gerlach.? Contains a range of Divertimento pieces arranged for 2 Violins and a bass instrument normally Cello. Preface and comments by Sonja Gerlach.

Sopra La Lontananza Del Frato Dilettissimo BWV 992-Along with his major cycles such as the English and French suites the Goldberg Variations or the Well-Tempered Clavier Bach also left a wealth of single pieces with a great diversity of titles they stem in large part from his early youth and student period around the years 1700-1710. The title of the present work – translated as “Capriccio on the departure of his most beloved brother” – reveals that this is programmatic onomatopoeic music of the kind that was very popular in the 17th and 18th centuries. In its six short and imaginatively-titled movements Bach shows a different side of himself from the usual polyphonist. Perhaps we owe this piece to the departure of his brotherJohann Jacob Bach who entered service in Sweden in 1704. J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece waswritten and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas ofJohann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

When Liszt took over the direction of the Court Opera in Weimar he spent a great deal of time exploring Goethe’s works. He was particularly attracted to the subject-matter of Faust. He used Nikolaus Lenau’s “Faust” a comprehensive poem in 24scenes as the model for his orchestral work in two parts “Episodes from Lenau’s Faust”. The second part “Dance in the Village Inn” was originally written for piano solo. He gave this wild piece which builds up to an almost delirious climax thetitle “Mephisto Waltz”. The piano composition soon spread around the world in its own right and even today is considered to be the quintessential bravura piece. For the first time a version of the piece that was abridged and simplified by Liszt canbe found in the appendix.Mephisto Waltz (The Dance at the Village Inn). Episode from Lenau's 'Faust'. Franz Liszt: Mephisto-Walzer (Der Tanz in der Dorfschenke) Episode aus Lenaus 'Faust'

Corelli Variations op. 42- Rachmaninoff wrote his well-known Piano cycle in 1931 at a time when his great works for Piano solo and the Piano concertos had already made him very famous. Yet it is by no means the “work of an old man”. Thecomposer’s variations on the theme “La folia” (taken from a sonata by Corelli) are like a series of fireworks on the Piano. He once drily said to a friend “All this mad running about is necessary in order to efface the theme”.Did Rachmaninoff succeed in silencing “la folia” – i.e. the “madness”? Why not see for yourself.

To commemorate the 200th anniversary of Robert Schumann’s birth an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works comprising six volumes are now available in paperbound or clothbound editions as well as a study edition set in a slipcase. Clearly ordered by opus numbers the complete edition includes not only all of Schumann’spiano works revised to reflect the latest scholarlyfindings but also informative commentary texts alternative versions and many things more. Contents: Fantasie für Klavier C-dur op. 17- Arabeske op. 18- Blumenstück op. 19- Humoreske B-dur op. 20- Novelletten op. 21- Sonate g-moll op. 22-Nachtstücke op. 23 On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces. Contents: Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23