Debussy occasionally reacted to musical trends in his compositions as was the case with American ragtime. Aside from Golliwogg’s Cakewalk in Children’s Corner (HN 382) The little Negro is even today a standard piece in modern crossover orientated piano teaching. Debussy did actually compose the piece for a piano method namely that of Théodore Lack published in 1909. In 1934 the publishing house Leduc produced a single version in which measures 22 to 54 are repeated unlike in the first edition. The piece is not particularly difficult and is very effective. Debussy occasionally reacted to musical trends in his compositions as was the case with American ragtime. Aside from Golliwogg’s Cakewalk in Children’s Corner (HN 382) The Little Negro is even todaya standard piece in modern crossover orientated Piano teaching. Debussy did actually compose the piece for a Piano method namely that of Théodore Lack published in 1909. In 1934 the publishing house Leduc produced a singleversion in which measures 22 to 54 are repeated unlike in the first edition. The piece is not particularly difficult and is very effective.

Piano trios belong among the great genres of Classical chamber music and Brahms too turned his attention to this genre early on. He wrote his opus 8 in fall and winter 1853/54 thus at the age of 20. The two other piano trios were created 28 years later namely op. 87 in C major and 32 years later op. 101 in c minor. Brahms was working on another Trio in E flat major at the same time that he was working on the C major Trio however it seems to have been destroyed. He returned to his first piano trio in 1889 and revised it so thoroughly that he wrote to Clara Schumann: “I have re-written my B major trio.” The Henle Urtext edition reproduces the second version of the Trioop. 8 (published in 1891) first then follows this up with a reprint of the first version in its Appendix.

It is not known exactly how many violin sonatas Joseph Haydn composed since the authorship of several works attributed to him is uncertain. There is even some evidence that the present G major Sonata Hob. XV:32 may be Haydn’s only original work in this genre. The striking correspondence of its opening with the theme of the second movement from Wolfgang Amadeus Mozart’s Sonata in G major K. 301 which is likewise a two-movement violin sonata could be regarded as a conscious quotation.

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations Beethoven sometimes lets the piano appear alone and sometimes has it rest. In places the mood is that of a sort of funeral march and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio” the later of the two was a reworking by Beethoven himself of his op. 20 Septet. He provided – as also in the case of op. 11 – an alternativeviolin part in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition which – just as back then- makes it doubly valuable.

In 1849 Schumann gifted chamber music works to three wind instruments: the clarinet with the “Drei Fantasiestücke” op. 73 the horn with the Adagio and Allegro op. 70 and the oboe with these “Drei Romanzen” op. 94. In the first Romance we have a ballade-like mood in a minor. The second romance resembles a song without words and is in A major while the finale with its calling motifs and piano arpeggios recalls the popular poems of Northern Europe of the time. Composed in December 1849 the Romanzen were presented to Schumann’s wife Clara as a Christmas present. This manuscript does not survive but it has been possible to consult some autograph sketches for our Urtext. Theeditor’s preface and commentary provide extensive information about the sources and the textual problems encountered.

Robert Schumann revered Johann Sebastian Bach and his polyphonic style throughout his life. Thus the “Six Studies in Canonic Form” op. 56 and “Four Sketches” op. 58 for pedal piano which are reminiscent of Bach’s Inventions were composed during a relatively short period starting in 1845. From a music history perspective the “Six Fugues on the name BACH” op. 60 for organ or pedal piano are the first important organ compositions on the B-A-C-H theme before those by Franz Liszt and Max Reger. With his compositions for pedal piano – the Leipzig School of Music had one at that time – Schumann wanted to “bring new impetus to piano music”. However this type of piano which wasequipped with a pedal keyboard did not find wide dissemination in the years that followed. Therefore it is more than legitimate to play the compositions by Schumann presented in this edition on the organ. The editor is the well-known organist and professor Gerhard Weinberger.

Piano Pieces • Piano Variations-The works in this volume show the development of keyboard instruments in an exemplary manner: the early works were intended for harpsichord two of which were for an instrument with the so-called “Viennese bass octave” which enabled the musician to play chords larger than a hand span with one hand. In our edition these passages have footnotes with suggestions on how to play them. The pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for piano as with the “Largo assai” from the “Reiterquartett”. Christine Schornsheim a specialist in historical performance practice provided fingerings for this completely revised andextended Urtext edition.? The works in this volume show the development of Keyboard instruments in an exemplary manner: the early works were intended for harpsichord two of which were for an instrument with the so-called Viennese bassoctave which enabled the musician to play chords larger than a hand span with one hand. In this Henle edition these passages have footnotes with suggestions on how to play them. The Pianoforte was the inspiration behindthe later works. Haydn was also happy to arrange his own compositions for Piano as with the Largo assai from the Reiterquartett. Christine Schornsheim a specialist in historical performancepractice provided fingerings for this completely revised and extended Urtext edition.

Alongside the opera “Der Freischütz” Weber’s “Invitation to the Dance” in D flat major op. 65 is his most famous work. In the 19th century Weber’s spirited piece was considered the virtual incarnation of the waltz. Weber here arranged the waltz frenzy of the dance-crazy Biedermeier era in a concertante form letting one waltz follow the other sometimes gently swaying sometimes wildly stomping. The movements are framed by a poetic introduction and a finale. The work is presented here in an Urtext edition based on the autograph fair copy but also takes into account the first edition and a copyist’s manuscript. Besides information concerning these sources one can read in theeditor’s detailed preface about the programmatic interpretation that Weber is supposed to have given to the introduction and finale at the first performance allowing one to vividly imagine a danced execution of the work.

Kapellmeister Kreisler the ingenious and eccentric conductor created by E. T. A. Hoffmann served as the inspiration for this composition of 1838. Schumann set out to recreate this fictitious character in music. The result was “Kreisleriana” a set of fantastical at times scurrilous and always seemingly improvised pieces that directly reflect the romantic sensibility that Kreisler personifies. If ever music was demonic it would have to be these eight superb piano fantasies that Schumann tossed off in a few days! Ernst Herttrich’s thoroughly revised new edition provides a thoughtful preface by this Schumann connoisseur and discusses the major editorial problems while givingthem exemplary solutions.? Henle Verlag Urtext Edition of Schumann's Kreisleriana Op.16 for solo Piano.

Jan Hugo Voríšek (1791–1825) born the year that Mozart died is we believe the one who stands out amongst the Bohemian composers at the time of Beethoven. He is currently enjoying a well-deserved renaissance. Our edition of selected piano works edited by Dana Zahn focuses on shorter pieces (Impromptus Fantasy Variations) but also contains a real gem: the B minor Piano Sonata “Quasi una Fantasia” (op. 20). Jan Hugo Vo íšek (1791–1825) born the year that Mozart died is we believe the one who stands out amongst the Bohemian composers at the time of Beethoven. He is currently enjoying a well-deserved renaissance. Ouredition of selected Piano works edited by Dana Zahn focuses on shorter pieces (Impromptus Fantasy Variations) but also contains a real gem: the B minor Piano Sonata “Quasi una Fantasia” (op. 20) .

At the end of his short life Franz Schubert impressively illustrated in his collections of “Impromptus” and “Moments musicaux” how lyrical-songlike form could be rendered on the piano. Nothing can be added to these perfectly fashioned masterworks. Thus in the E flat major Impromptu op. 90 no. 2 the player using our Urtext edition can abandon himself/herself to a perpetuum mobile of scurrying eighth-note triplets and at the same time delight in the piece’s very demanding playing technique and sound-world.

Debussy composed this work in summer 1880 in Fiesole Italy when he was 18 years old. At the time he was the musical travelling companion of Nadescha von Meck Tschaikowsky’s famous patroness. Most of the autograph material was thought to have been lost and was only discovered over 100 years later in 1982 in the estate of Debussy’s pupil Maurice Dumesnil. When Henle published the first edition in 1986 the music world welcomed the trio with open arms. Ensembles rushed to play it and numerous recordings followed. Although formal conventions prevail the work displays a melodic freshness as well as inflections and phrases that are typical of Debussy. Debussy composed this work in summer 1880 in Fiesole Italy when he was 18 years old. At the time he was the musical travelling companion of Nadescha von Meck Tschaikowsky’s famous patroness. Most of the autographmaterial was thought to have been lost and was only discovered over 100 years later in 1982 in the estate of Debussy ’s pupil Maurice Dumesnil. When Henle published the first edition in 1986 the music world welcomed the Trio with open arms. Ensembles rushed to play it and numerous recordings followed. Although formal conventions prevail the work displays a melodic freshness as well as inflections and phrases that are typical of Debussy .

Piano Trios (previously attributed to Joseph Haydn)-Can one imagine a better teacher of chamber music composition than Joseph Haydn? The Austrian Joseph Pleyel assimilated his teacher’s skill so well that his galant and substantial Piano Trios in C major and F major were initially attributed to the great master (and assigned the catalogue numbers Hob. XV:3 and Hob. XV:4). Pleyel’s compositions enjoyed great popularity and found wide dissemination in his day. Alongside symphonies and string quartets his nearly fifty piano trios are a particular high-point in his oeuvre. Our Urtext edition here presents two brilliant examples.Two Piano Trios for Violin Cello and Piano. Previously attributed to Joseph Haydn now known to have been composed by Ignaz Pleyel. Authoritative Henle Urtext edition of Trio In C and Trio in F as edited by WolfgangStockmeier.

Debussy composed the suite with four movements in 1888 fresh after his return from Italy where he had spent time on a scholarship at the Villa Medici in Rome as the winner of the Prix de Rome. He performed the work with Paul Dukas at the Paris Conservatoire in 1889 and it was very well received. Henri Busser was amongst the students and it was he who arranged the suite for orchestra in 1907 when Debussy was already famous. The composer immediately thanked Busser in a letter for his “ingenious orchestration”. Today it is one of Debussy’s most frequently played works both in its original form as well as in the numerous arrangements. Debussy composed the suite with four movements in 1888 fresh after his return from Italy where he had spent time on a scholarship at the Villa Medici in Rome as the winner of the Prix de Rome. He performed the work withPaul Dukas at the Paris Conservatoire in 1889 and it was very well received. Henri Busser was amongst the students and it was he who arranged the suite for orchestra in 1907 when Debussy was already famous. The composerimmediately thanked Busser in a letter for his “ingenious orchestration”. Today it is one of Debussy ’s most frequently played works both in its original form as well as in the numerous arrangements.

Valse-Slow waltzes enjoyed a special vogue in Parisian salons of the early twentieth century leading Debussy – with a twinkle in his eye – to produce his piano waltz “La plus que lente” (“The Slower-than-Slow”). Parisian publisher Durand brought Debussy’s piano waltz issued in July 1910 to a wider public by publishing it that same year as a supplement to Le Figaro as well as in arrangements (by others) for violin and piano and for piano 4-hands. Debussy himself produced a version for orchestra and in 1913 he even – at a rather faster tempo – recorded it on a piano roll for the Welte-Mignon company. This work headed “molto rubato con morbidezza” (with much rubato morbidly) isnow available as a separate Henle Urtext. A preface extended from those in the anthology volumes HN 1194 and HN 404 will stimulate curiosity about this charming miniature waltz. Slow waltzes enjoyed a special vogue in Parisian salons of the early twentieth century leading Debussy – with a twinkle in his eye – to produce his piano waltz “La plus que lente” (“The Slower-than-Slow”). Parisian publisherDurand brought Debussy’s piano waltz issued in July 1910 to a wider public by publishing it that same year as a supplement to Le Figaro as well as in arrangements (by others) for violin and piano and for piano 4-hands. Debussyhimself produced a version for orchestra and in 1913 he even – at a rather faster tempo – recorded it on a piano roll for the Welte-Mignon company. This work headed “molto rubato con morbidezza” (with much rubato morbidly) isnow available as a separate Henle Urtext. A preface extended from those in the anthology volumes HN 1194 and HN 404 will stimulate curiosity about this charming miniature waltz.

Works for Piano Trio-Schumann began writing chamber music rather late on in his life. In 1842 he then wrote six substantial works including his first piano trio which he only published in 1850 under the title Four Fantasy Pieces op. 88. In the meantime he had already composed the Trios in d minor op. 63 (1847) and F major op. 80 (1847/49). When he was in Dusseldorf in 1851 he wrote the g minor Trio op. 110. Together with the trios by Mendelssohn and Brahms Schumann’s four compositions are the most important works for this genre written in the 19th century.? Schumann Robert Piano Trios Fantasy Pieces Op88 Pf/Vln/Vlc Urt Sc/Pts

Sonata no.2 in d minor op.121 for Violin and Piano-Schumann’s second violin sonata was written in October/November 1851 only a few weeks after the first work for this combination of instruments (HN 428). The highly virtuosic sonata especially in the finale is characterised by the close thematic dovetailing of the single movements. Wilhelm Joseph von Wasielewski who later became the composer’s biographer reported that “smiling in his kind-hearted manner” the composer had said to him: “I did not like the first violin sonata- so I then wrote a second one which is hopefully better.” Schumann was apparently referring to the great differences in the expressive content: Whereas the first sonata with three movements seems rather melancholy and dark overall the second “Great Sonata” with four movements is bursting with energy and ends in vibrant D major. Schumann’s second violin sonata was written in October/November 1851 only a few weeks after the first work for this combination of instruments (HN 428). The highly virtuosic sonata especially in the finale is characterised bythe close thematic dovetailing of the single movements. Wilhelm Joseph von Wasielewski who later became the composer’s biographer reported that “smiling in his kind-hearted manner” the composer had said to him: “I did not likethe first violin sonata; so I then wrote a second one which is hopefully better.” Schumann was apparently referring to the great differences in the expressive content: Whereas the first sonata with three movements seems rathermelancholy and dark overall the second “Great Sonata” with four movements is bursting with energy and ends in vibrant D major.

The three Duos for Clarinet and Bassoon WoO 27 stylistically belong to Beethoven’s earliest creative period. Due to their lively character the skilful play with timbre and the fact that they are not very technically demanding they have always numbered among the wind chamber music showpieces and are also popular works for pupils and students. The sole source for the musical text is a printed edition which was only published after Beethoven’s death – presumably a reprint of lost Parisian editions. The original manuscripts also no longer exist. Our edition follows the musical text in the Beethoven Complete Edition (Volume VI/1)- there are two alternative versions for clarinetin B flat and C enclosed with the performance score for bassoon.? Die drei Duos für Klarinette und Fagott WoO 27 gehören stilistischBeethovens frühester Schaffensperiode an. Durch ihren heiteren Charakter das geschickte Klangfarbenspiel und das Fehlen größerer technischer Schwierigkeiten zählen sie seit jeher zu den Paradestücken der Bläserkammermusik undsind zudem bevorzugte Werke für Schüler und Studenten. Die einzige Quelle für den Notentext ist eine Druckausgabe die erst nach Beethovens Tod erschien – vermutlich ein Nachdruck von Pariser Editionen die heute ebenso weniggreifbar sind wie die Originalmanuskripte. Unsere Ausgabe folgt dem Notentext der Beethoven-Gesamtausgabe (Band VI/1); der Spielpartitur für das Fagott liegen zwei alternativ verwendbare Stimmen für Klarinette in B und Cbei. This book is written in English French and German. Both instruments play from the samescore.

Italian Concerto BWV 971-During the years 1713/14 when he held the position of court organist in Weimar Bach arranged a large number of concertos by contemporary composers for keyboard or organ solo. More than 20 years later in 1735 he published his Concerto in the Italian Style: a truly original work that can confidently be described as his “summa summarum ” the climax of this genre. The autograph is no longer extant which means that for Henle’s Urtext edition the first print – corrected by Bach – served as the main source. The forte and piano markings found in the work signalize the alternation between imaginary tutti and solo sections. An authoritative edition of Bach's Italienisches Konzert BWV 971 for the solo Piano edited by Rudolf Steglich.

Barcarolle in F sharp major op. 60-Chopin’s circumstances were rather strained in 1845 so that a planned trip to Italy with George Sand looked as if it would fall through. Yet with his Barcarolle he immersed himself in the atmosphere of the lagoon city Venice: the themes are reminiscent of gondolier melodies- they are carried by accompanying figures that evoke the rush of water and the sound of oars. Chopin developed the basic idea of the strophic song into exciting highly complex music full of breaks and opposites. Revising the text of this unique work has given us an opportunity to also offer it separately (alongside the Chopin volume Piano Pieces HN 318) and with extensive explanatory notes.Chopin’s circumstances were rather strained in 1845 so that a planned trip to Italy with George Sand looked as if it would fall through. Yet with his 'Barcarolle' he immersed himself in the atmosphere of the lagoon city Venice:the themes are reminiscent of gondolier melodies; they are carried by accompanying figures that evoke the rush of water and the sound of oars. Chopin developed the basic idea of the strophic song into exciting highly complexmusic full of breaks and opposites. Revising the text of this unique work has given us an opportunity to also offer it separately (alongside the Chopin volume 'Piano Pieces' HN318) and with extensive explanatory notes.