Domenico Scarlatti is today considered as one of music history’s great piano composers and the first-ever piano virtuoso. The present collection contains 24 sonatas from various creative periods offering a survey of the rich and varied output of this Italian who worked at the Spanish court. Scarlatti triumphed over the heavy Baroque style with his characterful themes natural cantabile melodies and dance-like movements. The performance-technical moment is a formally constitutive element within his one-movement sonatas. For the first time in the history of piano music the interpreter must cross the hands and master wide leaps. Renowned pianist Bengt Johnsson provides informationon Scarlatti’s life and career as well as on the various sources on which this edition is based in his preface. A few sonatas appear in print here for the first time. An additional “bon-bon” is the reprint of a preface to the edition of 30 of Scarlatti’s piano sonatas published in 1738. Absorbing reading for all who wish to acquire a deeper understanding of Scarlatti’s piano music.

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck an event that took place only after years of struggle. Originally the sixteen-piece cycle was meant to include twenty lieder. Our volume reproduces the four discarded numbers in an appendix.? The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation(„ Im wunderschönen Monat Mai “) to solitary grief („ Und wüssten’s die Blumen die kleinen “) and bitter sarcasm („ Die alten bösen Lieder “). Schumann knew what he was writing about: the cycleoriginated in the year of his marriage to Clara Wieck an event that took place only after years of struggle. Originally the sixteen-piece cycle was meant to include twenty lieder. Our volume reproduces the four discarded numbersin an appendix.

“I would like to sing myself to death like a nightingale” – 1840 Schumann’s most prolific “song year” was marked by great private upheaval. He was only able to finally marry Clara in September after he had fought her father in a court case. “The Eichendorff cycle is probably my most romantic” he informed her of his latest opus “and there is a great deal of you in it.” The song cycle opus 39 that was first published in 1842 is today one of Schumann’s most important song cycles – not least because of the famous “Moon night”. He revised his work for a new edition eight years later. Our Urtext edition offers both versions in their entirety.Original keys for high voice.

Nicolò Paganini numbers among the few musicians who attained fame by playing and writing for only a single instrument. His works for violin solo are unique and his appearances as virtuoso fascinated audiences from the very beginning. Yet in addition to the violin Paganini also learned to play the guitar as a child. And before travelling throughout the world he must have got to know the Genoese song “Barucaba” in his hometown of Genoa writing his op. 14 Variations for violin and guitar upon this song in 1835. We were able to engage musicologist Alberto Cantù and violinist Renato De Barbieri as editors of our Urtext edition of this chamber music work. Barbieri’s helpfulfingerings in the violin part round off the edition.

Max Hehemann stated once “Reger just simply happens to be complicated”. This sums up the usual and for the main part accurate assessment that is prevalent in the music world of the works of one of the most important German composers at the turn of the twentieth century. The Piano Sonatinas op. 89 are a marked exception to the Reger rule. Reger whose writing for the piano was often virtuosic and dense greatly retracted this here favouring instead a wonderful airiness and transparency. Nevertheless unlike a sonatina by Clementi for instance these four Reger Sonatinas are not easy to play (according to our levels of difficulty the easiest the Sonatina in D major [No. 2] is considered 5/6 – that is medium level of difficulty.) Max Hehemann stated once “ Reger just simply happens to be complicated”. This sums up the usual and for the main part accurate assessment that is prevalent in the music world of the works of one of the most importantGerman composers at the turn of the twentieth century. The Piano Sonatinas op. 89 are a marked exception to the Reger rule. Reger whose writing for the Piano was often virtuosic and dense greatly retracted this here favouring instead a wonderful airiness and transparency. Nevertheless unlike a sonatina by Clementi for instance these four Reger Sonatinas are not easy to play (according to our levels ofdifficulty the easiest the Sonatina in D major [No. 2] is considered 5/6 – that is medium level of difficulty.)

The polonaise was a fashionable dance form not only in Chopin and Liszt’s time for Johann Sebastian Bach’s son Wilhelm Friedemann had already brought this Polish national dance to a high-point. His twelve Polonaises were so popular in his time that they survive in numerous manuscripts meaning that today’s pianists can enjoy these most successful of W. F. Bach’s piano compositions. Colourful and effective they ascend stepwise through the keys with a polonaise in the major and one in the minor juxtaposed in each case. The pieces are sensitive and expressive and Bach is clearly setting off along the path to the character piece with these Polonaises. He probably played themon the clavichord the delicate and favoured instrument of this time of sensibility.

Even though the majority of Beethoven’s wind chamber music works were composed for specific occasions with prescribed scorings their importance is not limited by their functional nature. Beethoven always aspired to treat the various genres in the most original way possible. Horn players can thus enjoy Beethoven’s Horn Sonata op. 17 which the composer wrote in 1800 for a concert in Vienna’s Hofburg Theatre for the most famous horn player of his day Giovanni Punto (Johann Wenzel Stich). At that time an alternative instrumentation was necessary for successful dissemination of the work so this Urtext edition like the first one includes a violoncello part in addition to theone for horn. An authoritative urtext edition of Beethoven's Sonata In F Op.17 written for Horn or Cello with Piano.

Octet in F major D 803-The model for this composition was Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second violin. In a letter he numbered hisoctet amongst the chamber music works with which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played theclarinet. We only know that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was shortly performed at Troyer’s afterwards. Today it is one of the most popular larger chamber music works. Franz Schubert 's Octet In F major D 803 for Clarinet (B flat/C) Bassoon Horn (F/C) 2 Violins Viola Violoncello and Double Bass. This composition was modelled on Beethoven’s Septet op. 20 whose Divertimento character and six-part layout were adopted by Schubert although he merely expanded the instrumentation by adding a second Violin. In a letter he numbered his octet amongst the chamber music workswith which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer who had a musical salon in Vienna and played the Clarinet. We onlyknow that Schubert composed the work at the beginning of 1824 taking only a few weeks to do so and that it was performed at Troyer’s shortly afterwards. Today it is one of the most popular larger chamber music works.

Syrinx - La flûte de Pan for Flute solo- Syrinx is undoubtedly among the works that are immediately associated with Debussy. The piece which was given its first performance under the title La flûte de Pan was composed in 1913 as incidental music to a dramatic poem by GabrielMourey. In the central scene Pan is playing a reed flute which is actually the nymph Syrinx. Pan is however invisible to the other nymphs and to the audience. In order to reflect the staged situation the dedicatee Louis Fleury used to play thepiece behind a screen when he played it in concert. It was only published by Jobert in 1927 following Debussy’s death - its popularity has remained unsurpassed to this day.A highly authoritative Urtext edition of Claude Debussy's Syrinx for 'flute de pan' or flute solo as edited by Ernst-Gunter Heinemann.

Beethoven’s importance as the creator of monumental orchestral works and of substantial chamber music and solo sonatas is so great that his rich song oeuvre is often hardly even noticed. But his Lieder offer a highly entertaining repertoire in which love songs and humorous songs alternate with serious pieces of philosophical or religious subject matter. Goethe Claudius Herder Lessing Gellert and Rousseau are among the authors whose poems he set. In this way we are offered a panorama of the waning 18th and incipient 19th centuries with a specific blend of feeling for nature Enlightenment thought and religious sensibility. This Henle Urtext edition in two volumes which isbased on the Beethoven Complete Edition also contains those songs which were rediscovered long after Beethoven’s death and were therefore hardly known for a long time. A detailed preface on the history and source situation of Beethoven’s art songs rounds off this edition.

From the late 1760s onwards Mozart repeatedly composed series of dance movements for orchestra. Demand for this occasional music which really was intended for dancing increased in the winter months when the nobility and middle classes frequented balls during the carnival season. Mozart put together his own piano reduction of some of these dance series as is also the case with the eight Minuets. Only this wonderful autograph version for piano has survived. Our single edition was put together using the musical text from the revised complete volume “Mozart Piano Pieces” (HN 22 and 9022).?An authoritative urtext edition of Mozart's Eight Minuets KV 315a for solo Piano edited by Ullrich Scheideler.

The fact that the three so-called “Hallenser” Sonatas do not all date from Handel’s youth in Halle does not adversely affect their popularity. Since only very little is known about them and because certain stylistic characteristics suggest an early composition date the sonatas were formerly assigned to Handel’s Halle years. However we now know that at least the e minor Sonata was written in London. We include a combined part for Flute/Basso in this Urtext edition so that both players – flautist and accompanist – can play from this musical text. We are also offering in addition to the thoroughbass figuring a historically-appropriate thoroughbass realization withinthe score.

Dvo ák had previously written solo music for Hanus Wihan later the dedicatee of his cello concerto. When he was planning a trio concert tour for 1892 with Wihan and violinist Ferdinand Lachner and needed further works for cello and piano he reworked “Silent Woods” for cello and piano during the Christmas holidays of 1891. Originally a four-hand piano piece from his cycle “From the Bohemian Forest” the cantabile character piece became a popular recital item owing to its sonorous cello sound. Dvo ák later arranged it as an effective concert piece for violoncello and orchestra. The first edition of 1894 is the basis for editor and Dvo ák specialist Milan Pospíšil’s Urtext editionfor violoncello and piano.

Revised edition of HN 169-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 express using 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 classic collection which draws upon all known sources. 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 ishard to believe what Bach was able to express using only two parts! In his famous preface the composer himself calls the work an Instruction which teaches students and Keyboard lovers to treatcorrectly several parts to achieve a singing style in playing and to acquire a strong foretaste of composition. This edition draws upon all known sources.

When Chopin left with George Sand for his oft-cited winter sojourn on Mallorca in autumn 1838 he also took his second ballade with him which was not yet finished. Chopin’s health and other unfavourable circumstances had interfered with his work on the composition- he only completed it in winter 1839. (We have a facsimile of the wonderful autograph- HN 3212.) The printing process was also delayed – not least because of the composer’s considerable financial demands. Following his emigration from Warsaw and his full acceptance into Parisian musical circles Chopin was apparently aware of the value of his music. We now present this work dedicated to Robert Schumann in anaffordable single edition taken from the recently revised edition of the “Ballades”.? When Chopin left with George Sand for his oft-cited winter sojourn on Mallorca in autumn 1838 he also took his second ballade with him which was not yet finished. Chopin's health and other unfavourable circumstances hadinterfered with his work on the composition; he only completed it in winter 1839. (Also published is a facsimile of the wonderful autograph; Cat. No. HN3212.) The printing process was also delayed - not least because of thecomposer's considerable financial demands. Following his emigration from Warsaw and his full acceptance into Parisian musical circles Chopin was apparently aware of the value of his music. Now presented in a single Urtextedition this work dedicated to Robert Schumann has been taken from the recently revised edition of the 'Ballades'.

Aside from his popular Violin Concerto no. 1 “ Kol Nidrei ” numbers among Max Bruch ’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor and thus to this day “ Kol Nidrei ” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text based on the first edition of 1881 “ Kol Nidrei ” appears for the first time in an Urtextedition substantiated by scholarly research for which not just the musical sources but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.

Venetian Gondola Songs-In autumn 1830 Mendelssohn Bartholdy visited Venice whilst on a great European tour and was intoxicated by his impressions. He said of the local gondoliers: “The gondoliers are now crying out to one another again and the lights are reflected deep in the water- one is playing the guitar and singing. It is a merry night”. Perhaps it was with this in mind that Mendelssohn wrote four Venetian Gondola Songs between 1830 and 1841 (published in Henle Urtext in the collected volumes HN 327 and 861). We are now publishing the four popular easy-to-play and melodious pieces together in one volume with a new preface by Ullrich Scheideler.In autumn 1830 Felix Mendelssohn visited Venice whilst on a great European tour and was intoxicated by his impressions. He said of the local gondoliers: “The gondoliers are now crying out to one anotheragain and the lights are reflected deep in the water; one is playing the guitar and singing. It is a merry night”. Perhaps it was with this in mind that Mendelssohn wrote four Venetian Gondola Songs between 1830 and 1841(published in Henle Urtext in the collected volumes HN 327 and 861). Henle are now publishing the four popular easy-to-play and melodious pieces together in one volume with a new preface by Ullrich Scheideler.

An Urtext edition of the fifth volume of Edvard Grieg's Lyric Pieces the Opus 54 have been edited by Enrst-Gunter Heinemann with fingering by Einar Steen-Nokleberg.

String Trios op. 3 8 and 9 and String Duo WoO 32-As the opus numbers suggest the five string trios are relatively early works. Beethoven had sent opus 3 to print in early 1796 and in the same year he began his compositional work on the Serenade op. 8 which was then followed by the three Trios op. 9. This marked the definitive close of Beethoven’s work on this genre. Nevertheless the five pieces are thoroughbred Beethoven and often played to this day. Also included in the volume is the piece designated in the autograph as “Duet for two obbligato eye-glasses” that Beethoven had apparently written for two myopic friends.

Piano Sonata in D major K. 284-The Sonata in D major is the last of the Six Sonatas K. 279–284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich Augsburg and Mannheim a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas which were previously only published together in the complete volumes (HN 1 and 3) are now all available as single editions with new prefaces.The Sonata in D major is the last of the Six Sonatas K. 279–284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich Augsburg and Mannheim a facthe proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect for instance having a slow Rondeau en Polonaise as the middle movementof the Sonata in D major. The six sonatas which were previously only published together in the complete volumes (HN 1 and 3) are now all available as single editions with new prefaces. Mozart dedicated this Sonata to aFreiherr Thaddäus von Dürnitz – which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best the most brilliant and the most technically demanding of these six early Sonatas. Understandably Mozartretained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein’s new fortepianos.