When Christa Landon presented her printed edition of Joseph Haydn's piano sonatas for the first time Haydn's sonata works were still overshadowed by the works of Mozart and Beethoven. But Haydn's sonatas left the niche of piano lessons long since and have become established in the concert repertoire; Landon's edition certainly played a major role in that. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition because new sources have been discovered and questions concerning authenticity have been clarified over more than forty years; the editorial principles for 18th-century music in particular have markedly changed in the mean time.The new edition comprises all the works from the previous Wiener Urtext edition plus the Sonata Hob. XVI:16 arranged by Landon as well as a Sonata in F major which was discovered in Bolzano a few years ago and attributed to Joseph Haydn. The new edition too is divided into four volumes the content of which is compatible with that of each of the volumes of the preceding edition. In the notes on interpretation Robert D. Levin explains essential aspects of Haydn's performance practice. When Christa Landon presented the first printed version of her edition of Joseph Haydn 's Piano sonatas Haydn 's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn 's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn . The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn 's performance practice.

Frédéric Chopin 's Ballades for solo Piano.

Franz Schubert 's Fantasy In C - Wanderer-Fantasie C D 760 .

The Sonata in A major Hob. XVI:26 is one of the sonatas by Joseph Haydn which increasingly become the focus of attention of our piano teachers. Thanks to its moderate technical demands it is perfect for piano lessons. At the same time it shows essential features of Haydn's piano style in a condensed form – an expressive musical declamation rhetorical breaks full of tension wit and humour – which culminates not only in one of the shortest final movements of Haydn but also in a minuet the second half of which (in Minuet and Trio) corresponds to the first half when played backwards. A real voyage of discovery for the 'eagle-eyed' ones among the young piano players! The musical textis based on Christa Landon's edition newly revised by Ulrich Leisinger; the notes on interpretation by Robert D. Levin provide assistance for a performance practice in the appropriate style. The Sonata in A major Hob. XVI:26 is one of the sonatas by Joseph Haydn which increasingly become the focus of attention of our piano teachers. Thanks to its moderate technical demands it is perfect for piano lessons. At the same time it shows essential features of Haydn's piano style in a condensed form - an expressive musical declamation rhetorical breaks full of tension wit and humour - which culminates not only in one of the shortest final movements of Haydn but also in a minuet the second half of which (in Minuet and Trio) corresponds to the first half when played backwards. A real voyage of discovery for the 'eagle-eyed' ones among the young pianoplayers! The musical text is based on Christa Landon's edition newly revised by Ulrich Leisinger; the notes on interpretation by Robert D. Levin provide assistance for a performance practice in the appropriate style.

The sonatas in C Major (KV 545) and A Major (KV 331) are among the most popular of all Mozart’s piano sonatas. KV 545 is a firm favourite with piano teachers and their pupils (for many pianists this represents their first introduction to the sonata repertoire) and KV 331 with its famous variation movement and the renowned Rondo alla turca is one of the most popular works of the whole Viennese classical period. Both sonatas are now also available individually as part of the new Wiener Urtext edition of all Mozart’s piano sonatas. These editions are based upon the latest research into original documents and are notable for music that is clear and well laid out with pageturns in convenient places making the music more readily accessible to beginners and amateur pianists too. The sonatas in C Major (KV 545) and A Major (KV 331) are among the most popular of all Mozart ’s Piano sonatas. KV 545 is a firm favourite with Piano teachers and their pupils (for many pianists this represents their first introduction to the sonata repertoire) and KV 331 with its famous variation movement and the renowned Rondo alla turca is one of the most popular works of the whole Viennese classical period. Both sonatas are now also available individually as part of the new Wiener Urtext edition of all Mozart ’s Piano sonatas. These editions are based upon the latest research into original documents and are notable for music that is clear and welllaid out with page turns in convenient places making the music more readily accessible to beginners and amateur pianists too.

A piano piece in E flat major with the simple title ‘Lied’ (song) was Felix Mendelssohn’s surprise present to his sister Fanny on her birthday on 14 November 1828. Shortly afterwards she referred to the work as ‘Song without Words’ and probably coined the phrase under which her brother’s lyrical piano pieces numbering nearly 50 are known today. The present edition contains in addition to the 48 well-known ‘Songs without Words’ a number of individual compositions which because of their title or character seem to fit the classification ‘Song without Words’. These and the above mentioned first example of 1828 are united in this essential compilation of works in a genre favouredby the composer. An enriching addition to the piano repertoire of interest for teaching as well as for recital purposes. A Piano piece in E flat major with the simple title Lied' (song) was Felix Mendelssohn 's surprise present to his sister Fanny on her birthday on 14 November 1828. Shortly afterwards she referred to the work as Song without Words ' and probably coined the phrase under which her brother's lyrical Piano pieces numbering nearly 50 are known today. The present edition contains in addition to the 48 well-known Songs without Words ' a number of individual compositions which because of their title or character seem to fit the classification Song withoutWords '. These and the above mentioned first example of 1828 are united in this essential compilation of works in a genre favoured by the composer. An enriching addition to the Piano repertoire of interest for teaching as well as for recital purposes.

Franz Schubert 's Complete Sonatas Vol. 1 .

The 'Consolations' are among the best-known piano works by Franz Liszt. Their popularity is due not only to their expressive and lyrical character but also to their relatively moderate pianistic demands. Having a long history the final version of the six pieces appeared in print for the first time in 1850. The Wiener Urtext Edition provides this version authorized by Liszt for publication the text of which is mainly based on the German first edition owing to the lack of extant autographs and engraver's copies. In addition the French first edition as well as separate editions of the Consolations Nos. 3 and 5 published in London or Paris were consulted as well. The edition iscomplemented by performance notes of the Liszt pupil Lina Ramann which are virtually first-hand records of Liszt's interpretational ideas. Furthermore a clear notation without page-turn problems makes it easier to study and perform the popular works. The Consolations are among the best-known Piano works by Franz Liszt . Their popularity is due not only to their expressive and lyrical character but also to their relatively moderate pianistic demands. Having a long history the final version of the six pieces appeared in print for the first time in 1850. The Wiener Urtext Edition provides this version authorized by Liszt for publication the text of which is mainly based on the German first edition owing to the lack of extant autographs and engraver's copies. In addition the French first edition as well as separate editions of the Consolations Nos. 3 and 5 published in London or Paris wereconsulted as well. The edition is complemented by performance notes of the Liszt pupil Lina Ramann which are virtually first-hand records of Liszt 's interpretational ideas. Furthermore a clear notation without page-turn problems makes it easier to study and perform the popular works.

Claude Debussy 's Syrinx (La Flute De Pan) for solo Flute.

César Franck 's Complete Organ Works Volume 2 contains 6 pieces for Grand Organ Op. 19-21.

Maurice Ravel wrote his 'Menuet sur le nom d'Haydn' in September 1909 to commemorate the Viennese classicist who died 100 years before on 31 May 1809. The piece was published for the first time in connection with an 'Hommage à Joseph Haydn' in the Revue musicale to which several contemporaries of Ravel contributed as well. The original edition still in use today was published shortly after. A comparison with the composer's autograph currently in France and privately owned clearly shows the errors and shortcomings of the two first editions so that Ravel's musical intentions can now be published in full measure for the first time in the present new critical edition. Maurice Ravel wrote his Menuet Sur Le Nom D'Haydn in September 1909 to commemorate the Viennese classicist who died 100 years before on 31 May 1809. The piece was published for the first time in connection with an 'Hommage à Joseph Haydn' in the Revue musicale to which several contemporaries of Ravel contributed as well. The original edition still in use today was published shortly after. A comparison with the composer's autograph currently in France and privately owned clearly shows the errors and shortcomings of the two first editions so that Ravel 's musical intentions can now be published in full measure for the first timein the present new critical edition.

Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-Carl Philipp Emanuel Bach's works for violin and harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for harpsichord (piano) obbligato and violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but also the arrangements of the trios Wq143–145 for violin and harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin]. Carl Philipp Emanuel Bach 's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach 's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71-74 and BWV 1036 but alsothe arrangements of the trios Wq 143-145 for Violin and Harpsichord most of which are included in C. P. E. Bach 's autographs as well as a - previously ignored - early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accom

Joseph Haydn 's Dances Hob. IX:3 8 11 12 for solo Piano.

Schumann’s Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as Second only to Beethoven's Sonata in A. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann’s working manuscripts and – in the case of the 2nd Sonata – the score used by the engravers and extensive correspondence between the composer and the original publishers. Meticulous comparison of these original documents has made itpossible to determine numerous details regarding dynamics and articulation. Schumann’s autograph manuscript has been of significant help in this respect.The edition is part of the ABRSM syllabus (grade 8) Schumann 's Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as 'Second only to Beethoven's Sonata in A'. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann 's working manuscripts and - in the case of the 2nd Sonata - the score used by the engravers and extensive correspondence between the composer and the originalpublishers. Meticulous comparison of these original documents has made it possible to determine numerous details regarding dynamics and articulation. Schumann 's autograph manuscript has been of significant help in this respect. The edition is part of the ABRSM syllabus (grade 8).

Violoncello and Piano- Johannes Brahms ' Sonata Op. 38 in E minor for Cello with Piano accompaniment.

Claude Debussy 's Preludes book 1.

Wolfgang Amadeus Mozart 's Sonatas . Volume 1 for Violin with Piano accompaniment.

Friedrich Burgmuller 's 25 Etudes Op.100 .

Newly re-discovered in the run-up to the Schumann Yearabout three years ago a previously unknown manuscript of an album leaf for piano by Robert Schumann was found in the Leopold Sophien Library of Überlingen. The little piano piece entitled 'Ahnung' had been given and dedicated by Klara Schumann to a friend of hers the lithographer and writer Julius Allgeyer. In the Wiener Urtext Edition series this little work is published for the first time in the run-up to the Schumann Year 2010. A print of the rediscovered Schumann autograph is included in the edition. The expressive relatively easy-to-play piece adds to the Romantic piano repertoire. Newly re-discovered in the run-up to the Schumann year. About three years ago a previously unknown manuscript of an album leaf for Piano by Robert Schumann was found in the Leopold Sophien Library of uberlingen. The little Piano piece entitled 'Ahnung' had been given and dedicated by Klara Schumann to a friend of hers the lithographer and writer Julius Allgeyer. In the Wiener Urtext Edition series this little work is published for the first time in the run-up to the Schumann year - 2010. A print of the rediscovered Schumann autograph is included in the edition. The expressive relatively easy-to-play piece adds to theRomantic Piano repertoire.

Johannes Brahms ' Piano Pieces Op. 119 .