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.)

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.

“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.

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.

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.

Symphony in Eb major Hob. I:103 (Drumroll)-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning: a solo drumroll in the timpani ushers in the slow introduction. This opening bar marked with Haydn’s heading Intrada” and a pause even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the HaydnComplete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphony in Bb major Hob. I:102-The twelve London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual in that Haydn includes trumpets and timpani both muted. This study edition adopts the musical text of theHaydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Edition without fingering-The revision of the three-volume edition of Haydn’s piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure” Urtext free from added fingering suggestions will now also find these in the Henle catalogue. Volume I contains Haydn’s early sonatas very much still born of the spirit of the early Classical period: catchy music fun to play often at a moderate level of difficulty without which modern piano instruction would be nearly unthinkable. Time and again the authenticity of individual sonatas from this group has been questioned – the preface by Armin Raab the Scholarly Director of the Joseph Haydn Institute now provides comprehensive information on new findings regarding this important topic area.

Six Duos (op. 48) for two Violins-These easy duets were published around 1796/97 by Pleyel’s own publishing house both as Six Duos faciles et progressives for two violins and as Six nouvelles Sonatines progressives for piano and violin though we do not know today which version came first. To this day the violin duets are favorites for use in violin lessons but also for making music at home. Though lesser known today around 1800 Ignaz Pleyel numbered among the most popular composers in Western Europe - which may at first come as a surprise but which to judge from these very appealing pieces manageable for advanced beginners is easily understandable. With an unmarked score and two marked solo parts the Urtextedition provides optimal material for use in teaching.

Over 50 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings – a who’s who” on the contemporary piano scene. G. Henle Publishers now presents this classic revised and with a new look to all pianists in the certainty that Haydn’s sonatas will further cement their place in the world of music. Volume II contains three sets of six sonatas each more famous than the last and all replete with delightful thematic ideas – it is here one finds the core of Haydn’s sonata production which amateurs and professionals alike simply cannot do without!

Violoncello Sonata G Minor Op. 5 No. 2

Oboenkonzert D-dur

Studies Op. 18

The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. The twelve “London Symphonies” comprise the sublime final statement of Haydn’s symphonic œuvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791 the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity “The Miracle” was bestowed erroneously for the miracle – that no one was injured when a chandelier fell during a concert – took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless from the subtlerelations between the motives consisting of broken triads that open all four movements to the virtuosic shifts in mood owing to surprising harmonies Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Symphonies No. 1 And 2

Sonate Op.120 No.1

Frédéric Chopin’s 4 Scherzi are high points in the Romantic piano repertoire. Chopin here takes a traditional genre and fills it with radically new content. They are wild demonic in tone and there is little about them that is joke-like despite the original meaning of their title. Referring to the 1st Scherzo Robert Schumann asked: “how should seriousness be attired when even a ‘joke’ is veiled in black?”. Now that the Scherzi nos. 1–4 have been published in revised stand-alone editions G. Henle Publishers is now offering all four in paperback and hardback in an edition that reflects the current state of Chopin research. Both the footnotes and the extensive CriticalReport on the Internet offer detailed information on the familiar topic of “Chopin variants” and on all the textual problems they raise. This is Chopin in top form!

Concerto for Horn and Orchestra No. 3 E flat major

Sinfonias About 1775/76 (With Critical Report)