Joseph Haydn’s concertos for violoncello and orchestra stand out for their lightness and elegance. The Concerto in C major Hob. VIIb:1 was most likely written between 1762 and 1765 when Haydn was already in service as Kapellmeister or music director to Prince Esterházy. The concerto was for a long time known only through an entry by Haydn in his handwritten catalogue of works and the music itself was unknown. It was not until 1961 that a copy of the work was found and since then it has successfully held its own against the Concerto in D major Hob. VII:2. The services of Haydn specialist Sonja Gerlach have been obtained for this edition of the concerto with pianoaccompaniment. She enriches the Urtext edition with a detailed preface that also examines focuses on the execution of the ornaments and the cadenzas. Haydn ’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterhàzy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterhàzy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles. The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn ’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue). The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages. This Piano reduction is based on the text givenin the complete edition of Haydn ’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.

Songs without words-When Mendelssohn learned from his publisher Nikolaus Simrock that he was to receive an additional honorarium for a part of his “Lieder ohne Worte” he effusively thanked him for this gift. However the gift that Mendelssohn in his turn made to posterity with these Songs Without Words could probably not have been foreseen even by him at the time. These “Original Melodies” “Romanzen” or “Clavierstücke” which only later gained the title “Lieder ohne Worte” enjoyed great success during the composer’s lifetime and should be included amongst the most rewarding pieces of 19th-century piano literature. Our volume contains the complete “Lieder ohne Worte” published during hislifetime and posthumously.

Niels W. Gade who occasionally substituted for Felix Mendelssohn as conductor of the Gewandhaus Concerts in Leipzig is today considered the most important Danish composer. In his “Spring Flowers” op. 2b “Aquarelles” op. 19 and “New Aquarelles” op. 57 he created supple pleasing piano pieces in an intimate style suitable for domestic music-making. Nevertheless these character pieces are of moderate difficulty. They fascinate with their powerful originality deeply sensitive expressive power and pianistic ingenuity. For pianists who want to look beyond the established romantic piano music repertoire engaging with this edition will prove worthwhile. The informativepreface has been written by Danish pianist Bengt Johnsson who has recorded Gade’s complete piano works.

As a pedagogue and composer Johann Sebastian Bach’s second eldest son Carl Philipp Emanuel was preeminent in the field of keyboard music during the transitional period between the baroque and classical eras. From his over 150 keyboard sonatas we have assembled a three-volume chronological selection that focuses on attractiveness and variety. Moreover it makes available many previously unpublished sonatas. After all sixty of Carl Philipp Emanuel Bach’s keyboard sonatas remained unprinted during his lifetime. This second volume contains twelve sonatas from the period between 1749 and 1758. The available sources for our Urtext edition have been autographs first prints thatappeared during Bach’s lifetime and manuscript copies from Bach’s circle. Darrell M. Berg’s preface provides important performance suggestions concerning the prescribed ornaments. With Berg’s table of the most important embellishments and their correct rendition the player is optimally equipped to study Bach’s keyboard sonatas. A highly authoritative Urtext edition of Carl Philipp Emanuel Bach's Piano Sonata's as edited by Darrell M. Berg and Klaus Borner. Available here is the second volume of Piano sonatas.

When it comes to flute music of the Baroque era the works of Bach and Handel are unsurpassed in musical stature as well as in recognition and popularity and thus it is easy to overlook the fact that many other composers of that same period also wrote attractive music for the instrument. As an example consider the introductory slow movement of Johann Christian Schickhard’s Sonata in a minor where over a descending chaconne bass the flute interweaves a rich variety of melodic phrases. This is just one of the musical surprises to be discovered in this multifaceted volume.

These six piano sonatas were written during the composer’s London years after he had collected much valuable experience in Italy. The so-called “London” Bach devoted himself intensively to the possibilities afforded by the newly-developed “Hammerflügel ” and frequently performed in public on the instrument. His Sonatas opp. 5 and 17 all much esteemed by Mozart have many characteristics of the classical piano sonata. The op. 17 collection was first published in 1774 and was already being reprinted in various countries during the composer’s lifetime. Selected for the ABRSM Harpsichord grade 8 examination.

und Streichquartettfassung Kaviersonate Opus 14/1-String Quartets op. 18 No. 1-6 and String Quartet-Version of the Piano Sonata op.14/1.

Johannes Brahms’s Piano Quintet is not only one of the mightiest works in its genre but a climax in his chamber music œuvre. This new volume adopts the definitive text from the New Complete Edition of Brahms’s Works.? Johannes Brahms ’s Piano Quintet is not only one of the mightiest works in its genre but also a climax in his chamber music oeuvre. This new volume adopts the definitive text from the New CompleteEdition of Brahms ’s Works.

John Field a pupil of Muzio Clementi was in his day a celebrated pianist credited with almost legendary skill. The Irish piano virtuoso and composer is principally known for his “Nocturnes ” a genre later adopted by Chopin yet the four piano sonatas in this volume also deserve the highest respect. Since no autographs of them survive all the important prints issued during Field’s lifetime have been consulted for this Henle Urtext edition. Copies with extensive handwritten annotations by the composer have served as our primary source. Editor Robin Langley’s preface provides information about the sources of the sonatas answers questions concerning rhythmic execution and placesField in the historical context of the piano music of his time making this edition especially valuable. As a student of Clementi Field's piano sonatas are a creation of the classical era. Far from the romantic tones of his Nocturnes the Sonatas were written and first performed in London beforethe composer was influenced by Parisian and later Russian lifestyle.

Joseph Haydn composed twenty-one string trios for two violins and violoncello of which three have been lost. These chamber music gems which do not turn up very often on concert programs are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition also published by G. Henle Haydn’s eighteen surviving string trios are presented in two practical volumes. The second contains Trios Hob. V:15–21. The Critical Report provides valuable information about the trios’ genesis and sources.

The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn elaborated by Haydn and Mozart and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost to Mendelssohn who has always been called a “classical romantic.” His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827 shortly after Beethoven’s late quartets appeared in print works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 waswritten two years later during Mendelssohn’s first tour of England. A textually identical score of the two quartets is published in Henle’s Study Scores series (HN 9270). The string quartet is generally considered as the chamber-music genre of the classical era: invented by Haydn elaborated by Haydn and Mozart and brought to its compositional peak by Beethoven. All later quartet composers had to measure themselves against the works of these three masters. This applies first and foremost toMendelssohn who has always been called a classical romantic. His Quartet in a minor op. 13 in particular is said to have strong Beethovenian stylistic traits. It was composed in late summer and fall 1827 shortly after Beethoven's late quartets appeared in print works that Mendelssohn was no doubt familiar with. The Quartet in E flat major op. 12 was written two years later during Mendelssohn's first tour of England.A textually identical score of the two quartets is published in Henle's Study Scores series (HN 9270).

Each one of Bach’s six Partitas features seven great single movements predominantly in the sequence: Präludium – Allemande – Courante – Sarabande – [two free dances] – Gigue. These partitas can justifiably be described as Bach’s “ultimate” cycle of suites. As regards the artistic and manual demands it goes far beyond its “English” (HN 100) and “French” (HN 71) siblings that are also frequently played. It is no coincidence that Bach only had these six partitas printed (1731) and what is more as “Opus 1”. An authoritative edition of six Partitas by J.S. Bach no.s BWV 825 - 830 with full editorial history and historical context. Edited by Rudolof Steglich.

über ein Thema von Beethoven-An Urtext edition of Robert Schumann's Exercices - Studies On A Theme By Beethoven as edited by Robert Munster.

As is the case with quite a few of his works there are two versions of Schumann’s opus 14 – a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision- the publisher of the first version was however delighted- he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition which now also contains the complete early version the editor Ernst Herttrich provides detailed information on bothversions in an extensive preface and commentary.?

Suites Sonatas Capriccios Variations-Apart from the major cycles (partitas French and English suites) a whole series of separate keyboard suites by Bach have come down to us including individual sonatas or sonata movements variations and fragments of various sorts called Capriccios. None of them reached the degree of popularity of the aforementioned large collections. Most of them go back to Bach’s youth and student years to wit to the years between 1700 and 1710 and do not yet reach the mastery of the later years. However this is compensated by the enormous joy one derives in playing these works.Henle Urtext Edition

English Suites 4-6 BWV 809-811-Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71) “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN9100). Although people might like to think that the English Suites were composed after the French Suites (HN 71) the temperamental and in part virtuoso flow of these Suites is morecharacteristic of the musical language of the young Bach (from our preface). The kaleidoscopic variety of the six English suites is breathtaking. One lifetime is not enough to exhaustively comprehendand penetrate them. We provide the sustainable musical basis for this in different formats: the complete paperbound volume (HN 100) clothbound (HN 101) divided into Nos. 1-3 (HN 102) and Nos. 4-6 (HN 103) and lastbut not least in a very good value study edition with the identical musical text (HN 9100).

According to Ravel himself the strange title of the little Piano piece composed in 1899 “Pavane for a dead princess” should not be ascribed too much importance. He chose it mainly because he liked the alliterationit contained. At the same time he did however agree that the music evokes “a pavane that a little princess once might have danced at the Spanish court”. Following its premiere in 1902 the simple but effective piece gainedunparalleled popularity not least reflected in the numerous arrangements made of it one of which for small orchestra was by Ravel himself. We are publishing the work in its original version as a fitting addition to our worksby Ravel .

It was only with his late works that Debussy an unconventional innovator turned back to tradition. In 1915 he had six sonatas for various instruments in mind. He was only to complete three of them before his death in 1918 following a severe illness. The first of these was the Cello Sonata that he composed unusually quickly in 1915. During his summer holiday by the sea in Pourville Debussy worked at great speed. The sonata with an unusual sequence of movements Prologue-Sérénade-Finale was published in that same year. The work belongs to the cellist’s core repertoire.Authoritative urtext edition of Debussy's Sonata For Cello and Piano . Part of the ABRSM Cello Syllabus Grade 8.

Concerto for Piano (Harpsichord) and Orchestra

String Trios Volume 2