Edvard Grieg’s only Cello Sonata remains one of the best kept secrets among cellists. Grieg wrote it for his brother John an accomplished player of the instrument. Though not a string player himself by seeking advice during the compositional process Grieg was able to create an exhilarating piece that even advanced amateurs will be delighted to discover. Our edition also contains an early Intermezzo of 1866 as well as the first publication of Grieg’s own transcription of the Allegretto from his Violin Sonata op. 45 written as a birthday serenade for his brother John.? This Henle Urtext Edition contains Edvard Grieg's Sonata in A Minor Op.36 and a selection of other works all for Cello and Piano.

A short while ago Henle issued Mendelssohn’s second Violoncello Sonata op. 58. Now the first Sonata op. 45 is available for the first time as Urtext edition with a flawless music text. A preface and critical commentary provide detailed information on this major contribution to the romantic violoncello repertoire.? A short while ago Henle issued Mendelssohn ’s second Violoncello Sonata op. 58. Now the first Sonata Op. 45 is available for the first time as Urtext edition with a flawless music text. A preface andcritical commentary provide detailed information on this major contribution to the romantic Violoncello repertoire.

Piano Sonata in b minor-Following the revision of our facsimile of the Piano Sonata in b minor (HN 3227) in 2015 we are now proud to present the corresponding new Henle Urtext edition. With the help of the splendid facsimile reproduction we were able to analyse severalpassages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt’s in which the composer had made entries in his own hand. Clara Schumann reacted with a lackof understanding when Liszt sent the sonata: “It is only blind noise – not a single healthy thought everything confused.” Today we view this differently. Our new edition of this key piano work is further enhanced by the sophisticated fingeringssupplied by the piano titan Marc-André Hamelin. Following their revision of the facsimile of the Piano Sonata In B Minor (HN 3227) in 2015 Henle is now proud to present the corresponding new Henle Urtext edition. With the help of the splendidfacsimile reproduction Henle has been able to analyse several passages in the autograph more reliably; in addition the editor Ernst Herttrich not only consulted the first edition but also a copy of a student of Liszt 's in which the composer had made entries in his own hand. Clara Schumann reacted with a lack of understanding when Liszt sent the sonata: It is only blind noise - not asingle healthy thought everything confused. Today we view this differently. This edition of this key Piano work is further enhanced by the sophisticated fingerings supplied by the Piano titan Marc-AndréHamelin .

When it came to the genre of the string quartet Beethoven was a relative latecomer. He was already 28 years old when he obtained the contract for the composition of the Quartets opp. 18 from Prince Lobkowitz and 30 when he completed them. These are mature works that clearly distinguish themselves in their technical demands from say those of Mozart’s quartets yet on the other hand they orient themselves musically on Mozartian practice. The A major Quartet K. 464 obviously served as a model for Op. 18 no. 5. Be that as it may Beethoven’s six Quartets op. 18 are completely autonomous works that are on a par with many of the major contributions to this genre. In the1980s scribal copies – in which Beethoven had presented the quartets to his patron Prince Lobkowitz – once again became accessible. They represent a stage prior to the final version having richer dynamics and articulation marks that make them interesting from a performance practice point of view. As the autographs of the Six Quartets op. 18 are no longer extant these manuscripts assume a singular importance. This Henle Urtext edition is the first to take these manuscripts into consideration.

Chopin’s early works include a wealth of new stimuli for anyone wishing to take a closer look at the creative works of the Polish genius. Up to now the four Rondos have been missing from our catalogue- but now they are finally available in Henle Urtext. Although they have been unfairly neglected there are real discoveries to be made. It is hard to imagine that Chopin was only 15 when his Opus 1 the Rondo in c minor was first published. Likewise his Rondo op. 5 which incorporates the exotic sounds of Polish folk music and the brilliant work in C major op. 73 were also written during his time in Warsaw. Without a doubt the young composer who was the darling of the Warsawsalons wrote these works as showpieces for himself. Here and also with the Rondo op. 16 his mark is unmistakable. Our Urtext edition is also available as an affordable study score.? Chopin's early works include a wealth of new stimuli for anyone wishing to take a closer look at the creative works of the Polish genius. Up to now the four Rondos have been missing from our catalogue; but now they are finallyavailable in Henle Urtext. Although they have been unfairly neglected there are real discoveries to be made. It is hard to imagine that Chopin was only 15 when his Opus 1 the Rondo in c minor was first published. Likewise hisRondo op. 5 which incorporates the exotic sounds of Polish folk music and the brilliant work in C major op. 73 were also written during his time in Warsaw. Without a doubt the young composer who was the darling of the Warsawsalons wrote these works as showpieces for himself. Here and also with the Rondo op. 16 his mark is unmistakable. Our Urtext edition is also available as an affordable study score. Rondo c minor op. 1 Rondo F majorop. 5 Rondo E flat major op. 16 Rondo C major op. post 73A

Wunderkind-Sonatas II K. 10-15-In 1764 the eight-year-old Mozart wrote the Sonatas K. 10–15 in London. Leopold Mozart was only able to understand his son’s musical genius in terms of it being a God-given wonder: “That my boy […] knows all of this with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it cannot believe it”. According to the title page the six sonatas can either be played as piano trios violin sonatas or simply piano solo. As we have already published them in the form of piano trios and violin sonatas (HN 1078) we are now presenting them in an Urtext edition for piano solo.In 1764 the eight-year-old Mozart wrote the Sonatas K. 10–15 in London. Leopold Mozart was only able to understand his son’s musical genius in terms of it being a God-given wonder: “That my boy […] knows all ofthis with his 8 years that could be expected of a man of forty years. In short: whoever has not seen or heard it cannot believe it”. According to the title page the six sonatas can either be played as piano trios violinsonatas or simply piano solo. As Henle have already published them in the form of Piano trios and Violin sonatas (HN 1078) they are now presenting them in an Urtext Edition for Piano solo.

Beethoven’s Romances for violin and orchestra op. 40 and op. 50 are rewarding solo pieces that demand sovereign technique and artistic sensitivity. Their simple structures with noble melodies and virtuoso embellishments made them popular concert pieces already during Beethoven’s lifetime. In addition to a piano reduction for practical performance G. Henle here presents a study score. It follows the musical text of the Beethoven Complete Edition and accords with the orchestral material from Breitkopf & Härtel. In his detailed preface Ernst Herttrich informs us about the genesis and the source situation of the two works.

Edition without fingering-Although people might like to think that the “English Suites” were composed after the “French Suites” “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 (HN 9100).English Suites 1-3 by J.S. Bach with text in German English and French.

Adagio in b minor K. 540-Mozart composed his Adagio in b minor K. 540 at a time when his financial situation was steadily deteriorating. The war against the Turks was constraining the Viennese people’s interest in music – works were not commissioned and concerts did not take place. It was of no matter that Mozart had shortly before (in 1787) been appointed a salaried k.k. Kammer-Kompositeur. Nevertheless in this year he composed several of his most important works: the “Coronation Concerto” K. 537 the three late symphonies as well as several piano trios. And he also composed this tender Adagio in b minor with its captivating expressiveness. Our single edition uses the musical text from therevised Edition “Piano Pieces” (HN 22).? Henle Urtext Edition of Mozart's Adagio In B Minor KV 540 for Piano solo edited by Bertha Antonia Wallner.

Italian Concerto- Bach Italian Conc Bwv 971 Pf W/O Fng

To commemorate the 200th anniversary of Robert Schumann’s birth an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879–93 all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works comprising six volumes are now available in paperbound or clothbound editions as well as a study edition set in a slipcase. Clearly ordered by opus numbers the complete edition includes not only all of Schumann’spiano works revised to reflect the latest scholarlyfindings but also informative commentary texts alternative versions and many things more. Contents: Faschingsschwank aus Wien op. 26- 3 Romanzen op. 28- Scherzo Gigue Romanze und Fughette op. 32- Album für die Jugend op. 68 - Vier Fugenop. 72- Vier Märsche op. 76- Waldszenen op. 82On the 200th anniversary of Robert Schumann 's birth an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879-93 all of the works for Piano solo are appearing as oneeditorial project. Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue. The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides. Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces. Contents: Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Young op. 68 Four Fuguesop. 72 Four Marches op. 76 Forest Scenes op. 82

Opus 32 Nr. 5-Sergei Rachmaninov’s second book of Préludes op. 32 was written in the summer of 1910 at his family’s idyllic country house in Ivanovka. This sleepy rural area inspired the composer to this wonderful Impressionistic G-major Prélude. It is not very difficult and is thus also suitable for advanced amateur pianists. Thanks to the cooperation of the Glinka Archive in Moscow all the autograph sources were consulted for this Henle Urtext edition of the Préludes. As in all of our Rachmaninov editions the fingerings are by Marc-André Hamelin.Sergei Rachmaninov’s second book of Préludes op. 32 was written in the summer of 1910 at his family’s idyllic country house in Ivanovka. This sleepy rural area inspired the composer to this wonderful Impressionistic G-majorPrélude. It is not very difficult and is thus also suitable for advanced amateur pianists. Thanks to the cooperation of the Glinka Archive in Moscow all the autograph sources were consulted for this Henle Urtext edition of thePréludes. As in all of our Rachmaninov editions the fingerings are by Marc-André Hamelin.

Années de Pèlerinage Troisième Année-In 1883 the third volume of Années de Pèlerinage was published. Whereas the pieces in Volumes I and II were recollections of early travels in Switzerland and Italy the new works composed between 1867 and 1877 were more of a religious pilgrimage. Some parts already reflect Liszt’s austere later compositional style. With the visionary Jeux d’eaux à la Villa d’Este on the other hand he almost enters the world of Impressionist sounds (it inspired Ravel to write his Jeux d’eau). The Bible quotation about the “water of life” contained in a footnote leaves no doubt as to the spiritual dimension of the piece (also available in a separate edition HN 983). In 1883 the third volume of Années de Pèlerinage was published. Whereas the pieces in Volumes I and II were recollections of early travels in Switzerland and Italy the new works composed between 1867 and1877 were more of a religious pilgrimage. Some parts already reflect Liszt ’s austere later compositional style. With the visionary Jeux d’eaux à la Villa d’Este on the other hand he almost enters the world ofImpressionist sounds (it inspired Ravel to write his Jeux d’eau). The Bible quotation about the “water of life” contained in a footnote leaves no doubt as to the spiritual dimension of the piece (also available in a separateedition HN 983).

String Quartets Book X op. 76 Nr. 1-6-“Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn’s friend the music historian Charles Burney reported in 1799 that he had “never taken greater pleasure in instrumental music.” Our new edition of these six works including the famous “Emperor Quartet ” follows the text of the complete edition prepared by the Haydn Institute in Cologne. Both the study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.? “Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn ’s friend the music historian Charles Burney reported in 1799 that he had “nevertaken greater pleasure in instrumental music”. Our new edition of these six works including the famous “ Emperor Quartet ” follows the text of the complete edition prepared by the Haydn Institute in Cologne. Boththe study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.

In the classical era and far into the 19th century piano trios were what we might call “fashion accessories”. It is thus no coincidence that Beethoven following in the footsteps of Haydn and Mozart took up this genre and created altogether 13 piano trios of his own. This first volume contains the three Piano Trios op. 1 the very first works of all which Beethoven deemed publishable and deserving of an opus number. This was followed by the Trio op. 11 for clarinet or violin cello and piano (“Gassenhauer”). Beethoven drew a great deal of attention to himself when he presented the three Trios op. 1 to the public (including Joseph Haydn) probably in August 1795 at asoirée given by Prince Lichnowsky. They have remained precious exemplars of their genre to this day.

Both of these works for two oboes and cor anglais which Beethoven composed in the 1790s belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired by the prevailing popularity of this delicate combination of instruments. Likewise with the Variations WoO 28 on the famous theme “La ci darem la mano” by Mozart he made a contribution of his own to the arrangements of operatic melodies for wind ensembles that were so popular at the time. Our edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research on Beethoven.?Both of these works for two oboes and cor anglais which Beethoven composed in the 1790s belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired bythe prevailing popularity of this delicate combination of instruments. Likewise with the Variations WoO 28 on the famous theme 'La ci darem la mano' by Mozart he made a contribution of his own to the arrangements ofoperatic melodies for wind ensembles that were so popular at the time. This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research onBeethoven.

“Sonata quasi una fantasia” was the title given to it by Beethoven and yet the world of music knows it as the “Moonlight Sonata” – an epithet that was already around during the composer’s lifetime. “The lake rests quiet under the light of the moon at twilight- the wave thuds against the dark bank” wrote Ludwig Rellstab on the 1st movement in 1823. “It is as if we catch sight of a colossal grave in the middle of a lonely plain palely lit by the sickle moon” was what Wilhelm von Lenz wrote. Beethoven might have been influenced by the sound of the Aeolian harp as Murray Perahia and Norbert Gertsch explain in the introductory texts to this edition referring to the latestresearch. Perahia also provided the fingerings. “Sonata quasi una fantasia” was the title given to it by Beethoven and yet the world of music knows it as the “Moonlight Sonata” – an epithet that was already around during the composer’s lifetime. “The lake rests quiet under thelight of the moon at twilight; the wave thuds against the dark bank” wrote Ludwig Rellstab on the 1st movement in 1823. “It is as if we catch sight of a colossal grave in the middle of a lonely plain palely lit by the sicklemoon” was what Wilhelm von Lenz wrote. Beethoven might have been influenced by the sound of the Aeolian harp as Murray Perahia and Norbert Gertsch explain in the introductory texts to this edition referring to the latestresearch. Perahia also provided the fingerings.

In his youth when still searching for his own personal style Debussy composed a series of short stand-alone piano pieces. He took traditional genres such as the ballade mazurka nocturne and waltz but in general used each ofthem just once as if trying them out. One such was the “Valse romantique” published by Choudens of Paris in 1891 and thus written at the same time as his famous piano works Two Arabesques and the Suite bergamasque. This charmingwaltz is of moderate difficulty and thus ideal either as a pedagogical piece or for concert performance. Our collected volume Debussy: Piano Pieces (HN 404) offers numerous other short piano pieces of modest difficulty for thosewho find that this practical stand-alone edition awakens in them a desire for more.

Impromptus and Moments Musicaux-Franz Schubert’s piano works belong to pianists’ core repertoire and of course to Henle’s too. Our catalogue contains almost all of Schubert’s piano compositions. This volume contains the piano works that are played the most: the two collections of four Impromptus (D 899 and D 935) as well as the six Moments Musicaux (D 780). Our edition was first printed in the year that the publishing house was founded in 1948. The editor and person who provided the fingerings was a pianist who is still greatly admired: Walter Gieseking. We have made numerous “cuttings” from this main “plant”- single editions with the identical musical text of the Impromptus op. 90 The Urtext edition of Schubert's Impromptus And Moments Musicaux for piano solo as edited by Walter Gieseking. Hardback and clothbound edition. Contents include: 4 Impromptus Op.90 D.899 6 MomentsMusicaux Op.94 D.780 4 Impromptus Op. post. 142 D.935

Version for Piano-Haydn only made piano arrangements of his own works in very special cases. The popularity of his hymn “Gott erhalte Franz den Kaiser” (God Save Emperor Francis) did not simply occasion him to write the famous movement for the “Emperor Quartet” op. 76 3. He also later made an arrangement of these variations for piano. He might have done so following the wishes of the publisher Artaria. We now present a new edition of Haydn’s arrangement on the basis of the recently revised volume of “Piano pieces”. Furthermore the edition opens with a facsimile of the emperor’s hymn.?Haydn only made Piano arrangements of his own works in very special cases. The popularity of his hymn Gott erhalte Franz den Kaiser (God Save Emperor Francis) did not simply occasion him to write the famous movement for the Emperor Quartet op. 76.3. He also later made an arrangement of these variations for Piano. He might have done so following the wishes of the publisher Artaria. Henle now present a new edition of Haydn's arrangement on thebasis of the recently revised volume of Piano Pieces. Furthermore the edition opens with a facsimile of the Emperor's hymn .