Hob. I:105-“Sometimes the symphonies … are destined to showcase the musicians’ talents” – a music dictionary of the time thus commented on a new genre the “Symphonie concertante”. The playful competition between the solo instruments proved very popular with the audience and sparked rivalry between the concert organizers in the music metropolis London: Ignaz Pleyel received a great deal of praise for one such “concertante” and only four weeks later Haydn achieved great fame for Hob. I:105. This attractive work is now published in piano reduction so that it can be played without orchestral accompaniment. The performing material is published by Bärenreiter.?Authoritative Henle Urtext Edition of Haydn's Concertante In B Flat Hob.I:105 for Oboe Bassoon Violin and Cello set here with a Piano reduction of the original orchestra material.

Piano Works Volume I-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!

Dont Kreutzer Rode: three of the most prominent Violin pedagogues of the nineteenth century are united here in one volume. At the outset of the nineteenth century Rodolphe Kreutzer and Pierre Rode each composed epochal collections of studies (see HN 1177 and HN 1186); in 1852 as an introduction to these two standard works Jakob Dont wrote his exceptionally helpful 24 Preparatory Exercises op. 37 which even today no student of the Violin can avoid. Their success is also evident from the fact that numerous revised editions were published in the twentieth century by violinists such as Hans Sitt Carl Flesch or Ivan Galamian. Now for the first time G. Henle Publishers’Urtext edition restores access to the unadulterated original with Dont’s authentic fingering and bowing suggestions in an outstandingly legible musical text. The prominent Violin pedagogue Paul Roczak acted as a consultant for this edition and carefully supplemented Dont’s original marking.

In autumn 1895 after returning from New York once and for all Dvo ák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks he composed a new string quartet in G major. Together with the Quartet in A-flat major op. 105 it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes while his motivic working shows him to be a master at the height of his powers. Even today it seems almost as if we can feel the composer’s satisfaction with this work: “I am working so easily and it is going so smoothly that I could notwish it better”. In autumn 1895 after returning from New York once and for all Dvo ák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks hecomposed a new string quartet in G major. Together with the Quartet in A-flat major op. 105 it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes while hismotivic working shows him to be a master at the height of his powers. Even today it seems almost as if we can feel the composer’s satisfaction with this work: “I am working so easily and it is going so smoothly that I could notwish it better”.

Double Concerto in a minor op.102-The cellist Robert Hausmann had actually requested a cello concerto - but Brahms paired the cello with a violin in his Double Concerto. The unusual work has already been available as part of the new Brahms Complete Edition for several years. UsingBrahms’ original piano reduction Johannes Umbreit has produced a playable piano setting that optimally renders the colourfulness of the score. The fingerings and bowings for the string parts have been supplied by the experienced soloists Frank PeterZimmermann and Heinrich Schiff. The orchestral parts based on the Complete Edition are available from Breitkopf & Härtel (PB/OB 16104). The cellist Robert Hausmann had actually requested a Cello concerto - but Brahms paired the Cello with a Violin in his ' Double Concerto '. The unusual work has already been available as part of the newBrahms Complete Edition for several years. Using Brahms ’ original Piano reduction Johannes Umbreit has produced a playable Piano setting that optimally renders the colourfulness of the score. The fingerings andbowings for the string parts have been supplied by the experienced soloists Frank Peter Zimmermann and Heinrich Schiff. The orchestral parts based on the Complete Edition are available from Breitkopf & Härtel (PB/OB 16104).

Violin 2-Score and parts also available: HN963

“With humor ”slow and tender “extremely brisk”: the very expression marks of the op. 12 “Fantasy Pieces” illuminate their musical universe a kaleidoscope of ideas and moods. Our revised new edition presents not only the eight original pieces but also an appendix containing a ninth piece that Schumann excised during the final stages of publication. Several of the composer’s friends including the work’s dedicatee Robena Ann Laidlaw played some of op. 12 in public before it appeared in print. Later the work achieved rapid and widespread popularity. Perhaps the greatest compliment came from Franz Liszt who excitedly wrote to the composer “Your ‘Fantasy Pieces’ have captured myinterest in an extraordinary way. I play them truly with delight and Lord knows there are not many things of which I can say the same.” An authoritative urtext edition of Schumann's Fantasiestucke Op.12 for solo Piano edited by Ernst Herttrich.

Horn Quintet in Eb major K. 407 (386c)-We not only owe three of Mozart’s horn concertos to his friendship with Ignaz Leutgeb- the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying string quartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the “Abduction from the Seraglio” allow us to suppose that it was composed around the same time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart’s intentions.? We not only owe three of Mozart's horn concertos to his friendship with Ignaz Leutgeb; the solo part of this unusual chamber music work was also written especially for him. Instead of having two violins the accompanying stringquartet has two violas which complement the dark and warm timbre of the horn and lend the work a unique tonal effect. Echoes of motives from the 'Abduction from the Seraglio' allow us to suppose that it was composed around thesame time as the Singspiel. As the autograph is missing this edition is based on the first edition. In addition the critical apparatus provides a careful evaluation of the secondary sources affording important insights intoMozart's intentions.

String Quartet F major op. 135-Beethoven’s op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. Theproblem lies in the surviving sources for Beethoven’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven’s death the German publisher of the first edition posthumously ironed out these discrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for op. 135. Beethoven’s contradictory formulations are laid bare allowing musicians to make their own decisions. Beethoven ’s Op. 135 one of the last works he composed is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources for Beethoven ’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827 after Beethoven ’s death the German publisher of the first edition posthumously ironed out thesediscrepancies as he saw fit and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135 . Beethoven ’s contradictoryformulations are laid bare allowing musicians to make their own decisions.

Piano Sonata G major WO 14-Muzio Clementi was only just 16 years old when he wrote this sonata – and already a talented pianist. He had studied many of the great works written by his famous predecessors. This charming early work by Mozart’s contemporary shows the influence of many of these role models in particular of Domenico Scarlatti. And yet it is not very demanding. Our affordable single edition of this delightful sonata is very suited for teaching purposes.? An authoritative urtext edition of Clementi's Sonata In G WO 14 for solo Piano edited by Sonja Gerlach and Alan Tyson.

revised edition-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 “treat correctly” 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 us nearly 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! Johann Sebastian 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 “treat correctly” 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 timelesslybeautiful music which has lost nothing of its relevance to us nearly 300 years after its creation. This edition of the classic collection draws upon all known sources and offers the best in “instruction” especially withrespect to the transmitted embellishment variants. This volume is deal for pianists of every age.

Piano Reduction-The Rondo in B flat major was only published two years after Beethoven’s death in an arrangement by Carl Czerny. It has since been proven that it was originally the final movement of the Piano Concerto no. 2 op. 19 which Beethoven replaced in 1794/95 with the movement we know today. The fact that it closely resembled Mozart’s style might have contributed to this decision. At any rate Beethoven kept the manuscript of the rondo all his life showing its importance for him. Johannes Umbreit has prepared a new piano reduction that is easier to play and is based on the musical text in the Beethoven Complete Edition.The Rondo in B flat major was only published two years after Beethoven’s death in an arrangement by Carl Czerny. It has since been proven that it was originally the final movement of the Piano Concerto no. 2 op. 19 whichBeethoven replaced in 1794/95 with the movement we know today. The fact that it closely resembled Mozart’s style might have contributed to this decision. At any rate Beethoven kept the manuscript of the rondo all his life showingits importance for him. Johannes Umbreit has prepared a new piano reduction that is easier to play and is based on the musical text in the Beethoven Complete Edition.

When Chopin gave his Opus 23 the title “Ballade” in the mid 1830s he established the piano ballade as a new musical genre which was subsequently taken up by others including Brahms Liszt and Grieg. The idea of transforming a fictional dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: “I have a new Ballade by Chopin. It seems to me to be one of his most brilliant (not most inspired) works.” Our single edition has been taken from the recently revised edition of the “Ballades” (HN 862). Detailed information on the genesis of this work and an evaluation of the sources can be downloadedfree-of-charge.? When Chopin gave his Opus 23 the title “ Ballade ” in the mid 1830s he established the Piano ballade as a new musical genre which was subsequently taken up by others including Brahms Liszt and Grieg.The idea of transforming a fictional dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: “I have a new Ballade by Chopin .It seems to me to be one of his most brilliant (not most inspired) works.” Our single edition has been taken from the recently revised edition of the “Ballades” (HN 862). Detailed information on the genesis of this work and anevaluation of the sources can be downloaded free-of-charge.

for Harp Flute Clarinet and String Quartet-In June 1905 Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion thanks to 8 days of dogged work and three sleepless nights”. But the piece itself shows nothing of the haste in which it was written. In fact it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief but highly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle’s Urtext editions of Ravel’s chamber music.In June 1905 Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion thanks to 8 days ofdogged work and three sleepless nights”. But the piece itself shows nothing of the haste in which it was written. In fact it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief buthighly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle’s Urtext editions of Ravel’s chamber music.

After moving to Vienna in 1781 Mozart returned only once to his hometown of Salzburg and that was from the end of July to the end of October 1783 in the company of his young wife Constanze. Just as we know little for certain about the events of those months Mozart also seems to have composed equally little there. Just these two exquisite duos for violin and viola come from this period and even they were apparently written as a friendly favor for Salzburg composer Michael Haydn (younger brother of the great Joseph Haydn) who for reasons of acute ill health was unable to complete a commissioned composition. Henle’s Urtext edition is based on the carefully notated autographmanuscripts the first edition appeared only in 1792 shortly after Mozart’s death making its value as a source debatable. In addition to a complete score of this wonderfully intimate chamber music foldout instrumental parts are included facilitating comfortable performance.

Piano reduction-The origin of this concert aria which is a core piece in the singer’s repertoire is swathed in mystery. We still do not know where Beethoven found the text for the aria. The text for the recitative was taken from Pietro Metastasio’s “Achille in Sciro” but there it was not followed by an aria. It is also not clear why Beethoven only published the piece nine years after writing it. The Critical Commentary at the end of this single edition from HN 970 gives detailed information on the source situation and all aspects of our edition of this dramatic masterpiece. Breitkopf & Härtel are publishing the performing material.?The origin of this concert aria which is a core piece in the singer’s repertoire is swathed in mystery. We still do not know where Beethoven found the text for the aria. The text for the recitative was taken from PietroMetastasio’s “Achille in Sciro” but there it was not followed by an aria. It is also not clear why Beethoven only published the piece nine years after writing it. The Critical Commentary at the end of this single edition from HN970 gives detailed information on the source situation and all aspects of our edition of this dramatic masterpiece. Breitkopf & Härtel are publishing the performing material.

In a letter to Erwin Schulhoff Berg bitterly complained about his unsuccessful attempt to find a publisher for his “Pieces for Clarinet” “Once again at my own expense! A few antique pieces in my apartment had to pay for it …” The concise miniatures are outstanding examples of the “little pieces” genre to which Arnold Schoenberg and Anton von Webern also contributed. We warmly recommend these short but imaginative pieces in Henle Urtext to all those clarinettists who are willing to experiment. This edition is worldwide available.The Henle Urtext edition of Alban Berg's Four Pieces For Clarinet And Piano Op.5 edited by Ullrich Scheideler.

Immediately after finishing his second Violin Sonata op. 108 Fauré started work on a sonata for Cello and Piano in early 1917 thus realising a long-conceived plan. In their predisposition and attitude both works are very closely related. In the Cello sonata a sombre dramatic opening movement is also followed by a calm relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued but on account of increasing interest in Fauré ’s complete late chamber music this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas a master of his craft supplied the markings in the Cello part.

“Señor Albéniz may well inscribe upon his escutcheon the words ‘Veni vidi vici’.” The London press thus commented on the Spaniard’s triumphal tour of Britain between 1889 and 1893. It was in the British Isles of all places that Albéniz increasingly turned to subjects from his native country composing España (HN 857) amongst other things. Although it might seem surprising in this tribute to the Iberian peninsula Albéniz also included a tango that appears in the form of a Cuban habanera. Behind the multicultural charade is one of Albéniz’ most popular works full of warm longing for exotic climes. This easy-to-play piece is now available as a single edition. Señor Albéniz may well inscribe upon his escutcheon the words ‘Veni vidi vici’.” The London press thus commented on the Spaniard’s triumphal tour of Britain between 1889 and 1893. It was in the BritishIsles of all places that Albéniz increasingly turned to subjects from his native country composing España (HN 857) amongst other things. Although it might seem surprising in this tribute to the Iberianpeninsula Albéniz also included a tango that appears in the form of a Cuban habanera. Behind the multicultural charade is one of Albéniz’ most popular works full of warm longing for exoticclimes. This easy-to-play piece is now available as a single edition.

Haydn’s numerous divertimentos for strings and wind are cheerful functional music about whose genesis we know very little. Many stem from Haydn’s early years when the composer had to keep his head above water with musical odd jobs. Thus the Divertimento in G major Hob. II:9 for the unusual scoring of two oboes two horns two violins two violas and bass was quite possibly commissioned in the 1750s. In its exuberant vitality Haydn’s genius is already unmistakable here.