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).

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”.

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.

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!

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 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.

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.

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.

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.

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.

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'.

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.

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.

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.

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.

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.

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.

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.

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.

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.