For half a century Henle’s edition of the Beethoven sonatas – the “New Testament” of the piano repertoire – has been universally recognized as the stan-dard starting-point for any serious study of these works. Now with the publication of the three op. 31 sonatas in revised separate editions we are raising the yardstick another notch: no less a musician than the pianist and conductor Murray Perahia hasagreed for the first time ever to publish his fingerings and as co-editor to confide his profound insights into the sources to music lovers everywhere. The musical text has been prepared in strict accordance with the rules of modern Urtext editing and the volume is roundedoff with a lengthy and informative preface and detailed notes on sources and alternative readings. To be continued …!? An authoritative Urtext edition of Ludwig Van Beethoven's Piano Sonata In D Minor 'Tempest' Op.31 No.2 as edited by Norbert Gertsch and edited and fingered by Murray Perahia.

The Nocturne op. 37 no. 2 composed in 1839 is a perfect example of the rich pearling cascades of thirds and sixths that keep Chopin’s piano works at the top of the popularity list and as beloved today as in his time. Although no autograph of op. 37 has survived an engraver’s exemplar for the 1840 edition from Breitkopf & Härtel is extant and was corrected by Chopin himself. We have of course consulted this source for our Urtext edition.

Johannes Brahms’s Piano Sonatas opp. 1 2 and 5 were among the first works that the 20-year-old composer published. They were composed in 1852/53 although the Sonata in f-sharp minor was apparently the first of the three to be composed as it was finished by November 1852. This work has a special place in his oeuvre. Besides its passionate atmosphere his contemporaries discerned it to be “serious and dignified in character”. Brahms dedicated this sonata to Clara Schumann whose husband Robert wrote to the composer that “Your second sonata my friend has brought me much closer to you”. The ingenious fingerings have been provided by the pianist Andreas Boyde a recognisedBrahms expert. A superb collection of some of his first works Brahms’ Sonatas Scherzo And Ballades provide a superb enrichment to any accomplished pianist's repertoire. This highly authoritative Urtext edition of the works have been edited with critical commentaries and fingered by Walter Georgii.

Piano Sonatas Volume I-When Günter Henle founded his Urtext publishing house in 1948 the first work in the catalogue was the two volume edition of all of Mozart’s piano sonatas. Even today they still bear our numbers HN 1 and HN 2. Over the years both of the volumes have been revised several times so that the musical text always reflects the latest in scholarly research. The manuscripts have survived for many of Mozart’s sonatas and for some of his works he made slight changes to the text before printing. For this reason we provide both versions in such cases. The editor’s preface and critical commentary provide detailed information concerning all of the sources and questions regarding the text. A highly authoritative Urtext edition of Mozart's Piano Sonatas with thoroughly detailed editorial markings and suggestions as edited by Ernst Herttrich and fingered by Hans-Martin Theopold. This is the first volume ofMozart's Piano Sonatas and includes sonatas from Nos.1-9 all giving the most accurate realisation of the composer's original intentions.

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: Fantasiestücke op. 12 (mit Anhang: WoO 28) Paganini-Etüden op. 10- Sonate fis-moll op. 11- Allegro h-moll op. 8- Carnaval op. 9 On 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 a difficulty of 'advanced' as a guide to thegeneral proficiency required to play all the pieces. Contents: Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9

Urtextausgabe-Nicolò Paganini’s milestone in violin literature is now not only available in a practical Urtext edition (HN 450) but also as a study score. Published in 1820 as his Opus 1 Paganini gave the violin world a timeless masterpiece which no up-and-coming violin virtuoso can ignore. As well as the musical text our edition also contains a must for all interested performers: a detailed commentary by the Paganini expert Renato de Barbieri. With numerous examples and illustrations for each of the 24 Capricci from the autograph he knowledgeably explains the characteristics of Paganini’s notation and its significance for its interpretation today.Nicolò Paganini’s milestone in violin literature is now not only available in a practical Urtext edition (HN450) but also as a study score. Published in 1820 as his Opus 1 Paganini gave the violin world a timeless masterpiece which no up-and-coming violin virtuoso can ignore. As well as the musical text our edition also contains a must for all interested performers: a detailed commentary by the Paganini expert Renato de Barbieri. With numerousexamples and illustrations for each of the 24 Capricci from the autograph he knowledgeably explains the characteristics of Paganini’s notation and its significance for its interpretation today.

Edition without Fingering-When Günter Henle founded his Urtext publishing company in 1948 he began his catalogue with a two-volume edition (HN 1 and HN 2) of Mozart’s 18 piano sonatas. These sonatas remain part of the core repertory of every pianist. In the intervening decades both volumes have been revised several times in order to keep pace with the current state of research. The latest update concerning K. 331 the “Alla turca” sonata from volume 2 dates from 2015. The editor’s preface and critical report provide detailed information on all the sources and textual issues. HN 1 and HN 2 include fingerings; both volumes are now presented without fingerings for pianists who want to find their ownway into Mozart’s piano universe. Published in a two-volume edition (HN1 and HN2) Wolfgang Amadeus Mozart 's 18 Piano Sonatas were the very first pieces in the Henle catalogue. These popular sonatas remain part of the core repertory of everypianist. In the intervening decades since the release of the original Urtext edition both volumes have been revised several times in order to keep pace with the current state of research. The latest update concerning K.331 the Alla turca sonata from volume 2 dates from 2015. The editor's preface and critical report provide detailed information on all the sources and textual issues. HN1 and HN2 include fingerings; here Henlepresents both volumes without fingerings for pianists who want to find their own way into Mozart's Piano universe.

Sonata for Flute Viola and Harp-The middle work in the three late chamber music sonatas was composed in spring 1915 directly after the cello sonata (HN 633). The innovative combination of sounds – a wind instrument a stringed instrument and a plucked instrument – greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it saying: “It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the same time?” On another occasion he emphasised the similarities with his own compositional style of the 1890s remarking of the sonata: “It reminds me of a very old Claude Debussy – the one of the Nocturnes”. The middle work in the three late chamber music sonatas was composed in spring 1915 directly after the Cello sonata (HN 633). The innovative combination of sounds – a Wind instrument a Stringed instrument and a Pluckedinstrument – greatly contributes to the impression of restrained melancholy. Debussy himself confirmed it saying: “It is terribly sad. And I do not know whether one should laugh or cry about it? Perhaps both at the sametime?” On another occasion he emphasised the similarities with his own compositional style of the 1890s remarking of the sonata: “It reminds me of a very old Claude Debussy – the one of the Nocturnes”.

More than a few experts and aficionados count Mozart’s string trio in E-flat major K. 563 among his most magnificent compositions. This masterwork entered into Mozart’s own catalogue of works on 27 September 1788 as a “Divertimento ” presents the Urtext editor with great challenges. The autograph manuscript has been lost since that time and no other first-rate source texts exist. The most reliable albeit clearly imprecise source is the first edition published two months after Mozart’s death. Many twentieth-century editions however unfortunately reprinted the musical text of Breitkopf & Härtel’s so-called “Alte Gesamtausgabe” (Old Collected Edition) which wasedited by none other than the violinist Joseph Joachim on the basis of incorrect copies and is therefore completely corrupt. Even the “Neue Mozart-Ausgabe” (New Mozart Edition) is not error-free. The Henle edition essentially follows the first edition though aided by numerous corrective interventions described in the Critical Commentary. The edition’s Appendix presents the surviving fragment of the string trio movement in G major K. Anh. 66 (562e). How unfortunate that Mozart never completed this equally wonderful music which continues a little beyond the exposition and thus may quite aptly serve as a short encore. The three individual parts offer optimal flow for reading and playing thanks to the artful apportioning of notes in their layout including for instance various foldout tables and individual pages left blank. The study edition (HN 9625) available separately provides the full score to this edition of the parts.

Edition without fingering-In contrast to the large collections of partitas along with the French and English Suites Bach’s Fantasies and his Preludes and Fugues besides the Well-Tempered Clavier have not come down to us as interconnected cycles. Perhaps this is one of the reasons why only few of these works gained widespread popularity. Only the much-acclaimed Chromatic Fantasy and Fugue BWV 903/903a and the great c-minor Fantasy BWV 919 have found a permanent place in pianists’ concert repertoires. Some of the works compiled in this volume are undoubtedly juvenilia that do not yet hint at the mature Bach whilst nevertheless pointing out the composer’s fresh power of invention.

Klavierauszug-In his autograph of this concerto Vivaldi writes “Flautino” – which does not make it quite clear whether the work is to be played on the f-soprano (sopranino) recorder or on the piccolo transverse flute. Since the latter is obligatory for auditions with orchestra one often encounters the lively and musically invigorating concerto in the piccolo version.

Il ritorno di Tobia-All music lovers are familiar with Haydn’s great late oratorios – but who also knows the first one that he wrote about 25 years earlier? Although the Biblical story of young Tobias who is able to cure his blind father with heavenly help is in the tradition of the Neapolitan oratorio it already displays signs of Haydn’s personal style and is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This long neglected work is now performed more frequently and our study edition takes this new popularity into account.?Written 25 years prior to Haydn's late great oratorios his first oratorio telling the Biblical story of young Tobias who is able to cure his blind father with heavenly help is in the tradition of the Neapolitan oratorio andalready displays signs of Haydn's personal style; it is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This work waslong-neglected but this Urtext Study Edition reflects its renewed popularity.

Revised edition of HN 360-Bach’s three-part Sinfonias acquaint pianists of every age with the art of playing three equal parts with just two hands – a true phenomenon! It is no accident that these pieces together with the two-part Inventions are considered indispensable to every pianist. This beautiful music 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 embellishment variants. The new Bach – ideal for pianists of every age! Johann Sebastian Bach ’s three-part Sinfonias acquaint pianists of every age with the art of playing three equal parts with just two hands – a true phenomenon. It is no accident that these pieces together with the two-part Inventions are considered indispensable to every pianist. This beautiful music has lost nothing of its relevance to us nearly 300 years after its creation. Henle are now presenting a 2015edition of this classic collection which draws upon all known sources and offers the best in instruction especially with respect to the transmitted embellishment variants. This volume is ideal for pianists of every age.

The Rákóczi march is often referred to as the “Hungarian Marseillaise”. The beginnings of this march song go back to around 1730. In the text the Hungarians summon Franz II Rákóczi to free his people from the Habsburg oppression. The melody has been arranged many times e. g. by Brahms and Berlioz even Liszt made several arrangements of varying degrees of difficulty. He eventually did a “concert arrangement” of the theme in his highly virtuosic Hungarian Rhapsody no. 15. Our Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.?The Rákóczi March is often referred to as the 'Hungarian Marseillaise'. The beginnings of this march song go back to around 1730. In the text the Hungarians summon Franz II Rákóczi to free his people from the Habsburgoppression. The melody has been arranged many times e. g. by Brahms and Berlioz even Liszt made several arrangements of varying degrees of difficulty. He eventually did a 'concert arrangement' of the theme in his highlyvirtuosic Hungarian Rhapsody No.15 . This Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.

Oboe Quartet F major K. 370 (368b)-This is Mozart’s only piece of chamber music for the oboe – and no oboist would want to be without it! Like the Clarinet Quintet the Oboe Quartet of 1781 was written for a friend: Friedrich Ramm a member of the celebrated court orchestra in Mannheim. Since then it has become the most significant and best-known work in its genre. The playfully virtuoso outside movements frame a brief slow movement in the minor mode that brings out the instrument’s elegiac timbre. Unlike the Oboe Concerto this work has come down to us in Mozart’s autograph score which has served as the principal source of our edition.?Henle Urtext Study Score Edition of Mozart's Oboe Quartet in F Major K. 370 edited by Ernst Herttrich.

3 Notturnos-These Drei Notturnos appeared in 1850 in two different versions: the first for high voice and piano and the second for piano solo. In the latter version the music is preceded by the song texts (no. I Hohe Liebe no. II Seliger Tod: with texts by Ludwig Uhland no. III O lieb so lang Du lieben kannst: text by Ferdinand Freiligrath). The third Liebestraum – in the best tradition of nocturnes – is one of the most frequently played piano pieces of all. This is not least because it can be played by very skilled amateurs despite its pianistic bravura (our level of difficulty is 6/7).Henle Urtext Edition of Franz Liszt's Liebesträume Three Notturnos for Piano solo edited by Ernst-Gunter Heinemann.

Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit based very closely on Paganini’s original and following their educational intention. Opus 10 on the other hand deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution which heplaced at the beginning of his Opus 3.? Robert Schumann was fascinated by the Violin virtuoso Nicolò Paganini as were many composers of the time. When he was planning a Piano tutor in 1832/33 that was to include his own works as well as those byothers Schumann took a close look at Paganini's virtuosic Caprices for Violin. Schumann 's own Caprices Op. 3 were composed in this spirit based very closely on Paganini's original andfollowing their educational intention. Opus 10 on the other hand deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the PaganiniStudies is supplemented by the composer's extensive explanation on their execution which he placed at the beginning of his Opus 3 .

The Well-Tempered Clavier Part II-The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions without fingeringsand as study editions.? The world-famous pianist András Schiff a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects ofperformance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s brand new revision of Part II (spring 2007). The eminent Bach scholar Tomitadiscusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition.

Ausgabe für Viola-Good intentions are simply not good enough (to freely paraphrase Kurt Tucholsky): the arpeggione a kind of hybrid instrument like a large bowed guitar never won acceptance among musicians. This curiosity of instrumental engineering would certainly have long since been consigned to oblivion had not Franz Schubert of all people composed his A minor sonata for it. This three-movement work is now truly immortal but at the same time presents a problem as an Urtext because the original arpeggione part cannot be performed on those instruments that most closely approximate its sound – clearly the viola or violoncello – without some interventions in the text. G. HenleVerlag solves the dilemma on the one hand by setting the arpeggione Urtext part above the original piano part (score) and on the other by clearly denoting the few necessary octave shifts in the included instrumental parts. Out of the question for the publisher was a transcription for another instrument such as the violin (as was included in Diabelli’s posthumous first edition) flute or other high melodic instrument because these are simply too far removed from the sound Schubert had in mind. At best a contrabass part might still work. Or …? An authoritative urtext edition of Schubert's Sonata In A Minor D 821 for the Arpeggione - also known as the Guitar-Violincello or 'Guitar D'Amour'. This version has been transcribed for Viola and Piano edited byWolf-Dieter Seiffert.

Complete Edition-There is no other chamber-music genre for which Mozart produced so many works – see the sonatas and variations – than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments thus creating music of pure timeless beauty bound with dramatic power elegance and emotional depth.