The first Prelude from volume I of the Well-Tempered Clavier is among the most-played pieces in the piano repertoire. Though it seems easy to play this is misleading since the performer must build up and maintain the musical tension. Only in the closing measures does the tension let up and lead to the more challenging fugue.

Every young violinist is familiar with Schubert’s sonatinas for violin and piano. The title “sonatinas” used here is derived from the posthumous print of 1836 Schubert himself called them “sonatas.” The diminutive form was no doubt selected because the pieces are fairly easy to play marketing considerations perhaps also played a role here. With their typically lively Schubertian melodies they are among the most popular pieces ever written for piano and violin and have continuously maintained their position as “bestsellers” in the Henle catalogue (having the “early” publisher’s number 6). Schubert wrote them in 1816 thus at the age of 19. The first edition sometimesdiverges considerably from the autograph fortunately it has survived almost in its entirety (missing is the finale of the 2nd sonatina). For this final movement the first edition had to be consulted as a source. An authoritative Urtext edition of Franz Schubert's Sonatinas for Piano and Violin Op. post.137 as edited by Gunter Henle and KarL Rohrig.

Mozart was neither a flautist nor a harpist but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions- the lean and euphonious piano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editions ofMozart’s surviving concertos and chamber music with flute.? Mozart was neither a flautist nor a harpist but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions; the lean and euphoniousPiano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the Harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editionsof Mozart ’s surviving concertos and chamber music with Flute.

String Quartets Book XI op. 77 und 103-These are the last of the nearly seventy quartets in Haydn’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn’s health was so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op. 103 adding to the print the portentous words: “Gone is all my strength old and weak am I.” Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far asto call op. 77 no. 2 his “most beautiful string quartet.”? These are the last of the nearly seventy quartets in Haydn ’s oeuvre. Originally he intended to write a set of six quartets as so often in the past but at the time they were written in 1803 Haydn ’s healthwas so poor that he could not fully satisfy the commission from Prince Lobkowitz. Instead he published only two complete quartets as op. 77. Later he allowed an incomplete work consisting of two middle movements to appear as op.103 adding to the print the portentous words: “Gone is all my strength old and weak am I”. Musically however these quartets are anything but weak: they represent the aged composer virtually at the zenith of his powers. Haydn even went so far as to call op. 77 no. 2 his “most beautiful string quartet”.

15 well-known original pieces in progressive order of difficulty with practical comments-Brahms’s music does not have to be difficult or melancholy – our selection here proves it. Even less advanced pianists will find playable immediately appealing pieces amongst his works for piano. His delicate intermezzi are dreamy and soulful in mood while our selection of his waltzes (which Brahms himself published again in simplified versions) shows his cheerful “Austrian” side. Brahms’s music does not have to be difficult or melancholy – our selection here proves it. Even less advanced pianists will find playable immediately appealing pieces amongst his works for piano. His delicate intermezzi aredreamy and soulful in mood while our selection of his waltzes (which Brahms himself published again in simplified versions) shows his cheerful “Austrian” side.

Schubert only took ten days to write his String Quartet in G major one of his truly monumental chamber music works. With its almost symphonic dimensions this late quartet is reminiscent of his great String Quintet in C major. As divulged in a letter Schubert actually wanted to “pave the way for the large symphony” with this quartet and several other chamber music works that he composed around the same time. Written in 1826 the quartet was not performed in public during the composer’s lifetime- and it was only published long after his death. Our Urtext edition with its accompanying study edition is therefore based on the surviving autograph.?Schubert only took ten days to write his String Quartet in G major one of his truly monumental chamber music works. With its almost symphonic dimensions this late quartet is reminiscent of his great String Quintet in C major . As divulged in a letter Schubert actually wanted to 'pave the way for the large symphony' with this quartet and several other chamber music works that he composed around the same time. Writtenin 1826 the quartet was not performed in public during the composer’s lifetime; and it was only published long after his death. This Urtext edition with its accompanying study edition is therefore based on the survivingautograph.

Prussian Quartets-The volume opens with something unusual: opus 42 is a single work short and surprisingly easy to play- Haydn described it as “something small and with only 3 pieces”. The Quartets op. 50 including the so-called Frog Quartet are dedicated to the Prussian king Friedrich Wilhelm II who was a talented cellist. Even though the “solo” at the beginning of opus 50 1 is meant as joke there are some good passages for cellists.? This volume opens with something unusual: opus 42 is a single work short and surprisingly easy to play; Haydn described it as 'something small and with only 3 pieces'. The Quartets op. 50 including the so-called Frog Quartet are dedicated to the Prussian king Fried-rich Wilhelm II who was a talented cellist. Even though the 'solo' at the beginning of opus 50.1 is meant as joke there are some good passages for cellists.

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 subsequent composers measured themselves. After piano and chamber music he also conquered the world of the symphony during his Viennese years with his first work in C major op. 21. In subsequent years this First Symphony became very popular. Only with the emergence of a Romantic view of Beethoven did it move into the background. The present Urtext study edition follows the musical text of the Beethoven Complete Edition. The editor’s extensive preface with fascinating details concerning the genesis and sourcesituation makes this small-format score particularly valuable. The Symphony No.1 in C Major (Op. 21) was first performed in 1800 and published in 1801. It is scored in four movements: Adagio molto – Allegro con brio; Andante cantabile con moto; Menuetto: Allegro moltoe vivace; Adagio – Allegro molto e vivace. Ludwig van Beethoven (1770 – 1827) was a German composer and pianist and arguably the most famous composer of all time. He was the last great figure of the Classicalera and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16 String Quartets.

Single Edition from HN 32-This middle piece of the early set of three early sonatas op. 2 dedicated to Joseph Haydn was probably composed in the winter of 1794/95. To this day it stands – unjustly -- in the shadow of its more popular neighbours the brooding impassioned f-minor Sonata op. 2 no.1 and the mighty virtuosic one in C major op. 2 no. 3. In its expressive serenity its formal structure replete with surprising turns and its sheer joy in music-making it is the one in the set that most closely reflects the influence of Haydn’s teaching. At the same time however it manifests some idiosyncratic traits that point far into the future such as in the Largo appassionato the passionate mood andintrospection of the melody that dominates the second movement and in the first designation of the following Menuet as “Scherzo” coupled with a real Ländler as Trio. Henle Urtext Edition of Ludwig Van Beethoven 's Piano Sonata No. 2 In A Op. 2 No. 2 for solo Piano. Suitable for pianists at an intermediate-advanced level.

Studien-Edition - Urtext-Chopin revolutionized the etude – but he ennobled the waltz. He spent much time on this genre throughout his life and created a wide spectrum of forms from virtuosic showpieces – the Grandes Valses Brillantes – to deeply melancholic atmospheric pictures. All these works have one thing in common: one cannot and should not dance to them! Our volume contains all of the waltzes that were published during Chopin’s lifetime or posthumously including popular masterpieces such as the so-called “Minute Waltz” (op. 64 no. 1). In cases where two authentic versions of the same waltz have been transmitted we naturally give the Urtext of both versions. Chopin revolutionized the etude – but he ennobled the waltz. He spent much time on this genre throughout his life and created a wide spectrum of forms from virtuosic showpieces – the Grandes Valses Brillantes – todeeply melancholic atmospheric pictures. All these works have one thing in common: one cannot and should not dance to them! Our volume contains all of the waltzes that were published during Chopin ’s lifetime orposthumously including popular masterpieces such as the so-called “ Minute Waltz ” (op. 64 no. 1). In cases where two authentic versions of the same waltz have been transmitted we naturally give the Urtext of bothversions.

Piano Sonatas Volume I-Schubert’s 22 piano sonatas sketch a very illuminating picture of the prematurely departed composer’s compositional path. From the first essays of the gifted young 16- to 19-year old 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 I of the three-volume Henle Urtext edition of Franz Schubert’s piano sonatas contains seven sonatas from the two earlier periods as well which all became known with opus numbers. Only two were published during Schubert’s lifetime. Thebook opens with what is no doubt the best-known sonata of these two periods the A-major Sonata D 664 op. post. 120. Given the length of time between the composition of each – 1817 1823 1825 – the works present a great diversity of forms and expression.

Single Edition from HN 32-Composed in 1800 this work was published two years later under the title “Grande Sonate” in order to demonstrate the resumption of an earlier four-movement sonata model. Beethoven proudly announced to his publisher: “This sonata is a winner” – which implied not only both the high technical demands through brilliant virtuoso passages but also the sonata’s particular musical characteristics. In 1807 a critic judged that the work combined “in a very original manner brilliance and power solemnity and poignancy cheerfulness pleasantness and an unsettling and great loftiness”. Ludwig Van Beethoven 's Piano Sonata No. 11 In B Flat Op. 22 for solo Piano. Suitable for pianists at an advanced level.

Piano Reduction-Robert Schumann’s famous Piano Concerto in a minor has always been part of the pianist’s repertoire – yet the two later Concert Pieces for Piano and Orchestra op. 92 and op. 134 (Urtext edition of op. 134 is currently being prepared) have wrongly been somewhat neglected. Their formal composition is very innovative: the three movements usually in a concerto have been combined to form one single movement. Clara Schumann who played the solo part in the première of opus 92 on 14 February 1850 in the Gewandhaus in Leipzig enthusiastically noted in her diary “I am very looking forward to playing it – it is very passionate and I am sure I will play it thus”. Introduction And Concert Allegro Op.134 Piano Reduction was composed in 1849 by Robert Schumann . This Piano duet is the reduction from the full Orchestral score with Piano 1 taking thesolo and Piano 2 representing the Orchestra in a beautiful and technically challenging piece.

Schubert composed the Wandererfantasie in November 1822. Though generally designated as a year of crisis an entire series of Schubert’s important works were created precisely at this time when the Wandererfantasie for example but also the Symphony in B minor the “Unfinished ” began to cast their spells on music lovers all over the world. There were several precursors in particular the fantasias of Carl Philipp Emanuel Bach and Mozart. Nevertheless Schubert continued to develop the genre in this masterpiece. He combined the principle of the fantasia with that of the sonata cycle by dividing the whole into four large sections (movements) that flow seamlessly into oneanother whereby he derived the thematic material from a core which – not surprisingly – consisted of measures borrowed from the song Der Wanderer in the second movement. This work was one of the few instrumental works of Schubert’s to have appeared in print during his lifetime and was already receiving encomiums from the critics back in its day. It still ranks today among the most often played yet technically and musically highly challenging works of this composer. Urtext edition of Schubert's Wanderer Fantasy .

No music lover can remain untouched by the emotional quality of this work composed in Schubert’s last year. The monumental weight of the outer movements the intimate lyricism of the “Adagio” as well as the unusual timbre ensure the uniqueness of this quintet. An additional cello which takes on an essential melodic role joins the classical string quartet. The editor of our new Urtext edition Egon Voss not only does justice to the difficult source situation- with new and convincing solutions for difficult page turns in our Urtext edition for practical music making he also takes into account the demands of musical practice.?Opus Post.163 D 956

The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to flee with Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the clarinet they were accompanied by alternative parts for violin and cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.?The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

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.Volume 2 of Beethoven's Complete Piano Sonatas. Beethoven's mastery was mesmerising and his Piano sonatas are among the best in the repertory. This Urtext Edition is an authoritative edition with accurate editorial content and asclose to the composer's intentions as possible.

Complete Piano Sonatas Volume II-Among Joseph Haydn’s extensive oeuvre is an almost inexhaustible stock of piano sonatas. With altogether over 50 works they form a significant segment of his overall output. One of this composer’s great achievements is that in these sonatas – as in many other genres such as the symphonies and string quartets – Haydn bridges discrepant stylistic eras and lays the founding stone for the classical piano sonata. Volume II comprises three groups of six sonatas which made Haydn accessible to the broad public in prints or professionally produced copies. The collections which stem from the 1770s contain some of the best-known and beloved piano sonatas of Haydn including those in Cmajor D major and G major Hob. XVI:35 37 and 27. The most important is no doubt the last sonata in the collection in c minor Hob. XVI:20 whose intense passion and expressiveness already anticipate Beethoven’s boldness. Franz Joseph Haydn was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the Piano trio and his contributions to musical form haveearned him the epithets 'Father of the Symphony' and 'Father of the String Quartet'. At the time of his death aged 77 he was one of the most celebrated composers in Europe. Franz Joseph Haydn: Complete PianoSonatas Volume II includes 18 sonatas for solo Piano. This Urtext Edition is an authoritative edition with accurate editorial content and as close to the composer's intentions as possible.

Called “Kurfürstensonaten” (Prince-Elector sonatas) these three sonatas were published in fall 1783. In the dedication – which was most certainly not formulated by Beethoven – one reads: “Most lofty sir ... I have now reached my eleventh year” (whereby the composer has been made two years younger) “and since then my Muse has whispered to me often during the hours of devotion: Be bold and lay down the harmonies of your soul!” ... May I now exalted Prince dare to lay the first of my juvenile outpourings at the steps of your throne?” In fact the three sonatas have a special place among Beethoven’s earliest compositions already exude his spirit and can be used to acquaintthe budding pianist with this composer.

Around 1900 Debussy composed 12 short pieces for two flutes two harps and celesta as incidental music for the Chansons de Bilitis (recitation of ancient Greek poems by the courtesan Bilitis) by Pierre Louÿs. Although it was performed the work was not published during Debussy’s lifetime. The composer highly valued the work and returned to it in 1914 choosing six of the old pieces and reworking them into an important new cycle for piano four hands (HN 408). At the same time he also completed a version for piano solo (HN 402). Debussy succeeded to transform the delicate incidental music into a colourful sonorous piano setting in both versions. Around 1900 Debussy composed 12 short pieces for two Flutes two Harps and Celesta as incidental music for the Chansons de Bilitis (recitation of ancient Greek poems by the courtesan Bilitis) by Pierre Louÿs. Althoughit was performed the work was not published during Debussy ’s lifetime. The composer highly valued the work and returned to it in 1914 choosing six of the old pieces and reworking them into an important new cycle forPiano four hands (HN 408). At the same time he also completed a version for Piano solo (HN 402). Debussy succeeded to transform the delicate incidental music into a colourful sonorous Piano setting in both versions.