1 X 1905

The composition “1.X.1905,” generally referred to as a “sonata,” stems from the autumn of 1905, the peak of the riots between the Czech- and German-speaking populations in Janá ek’s hometown Brno. Reacting to the violent death of a Czech worker, Janá ek wrote a three-part composition for Piano originally bearing the title “From the Street, on October 1, 1905.” Dissatisfied with the work, however, Janá ek is said to have first burned the third movement in his fireplace and then thrown the remaining two movements into the Vltava, even before its premiere. A copy of these first two movements on which thepublication of the first edition was later based is also missing today. For this reason, the Urtext edition of G. Henle Publishers and Universal Edition is based solely on the first edition from 1924, which Janá ek expert Ji í Zahrádka has carefully evaluated and annotated for this volume.

Five Famous Piano Sonatas

Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia. Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia.

Henle: Study-It - Sticky Notes With Page Marker

Contains sticky notes (25 and 100 sheets) with page marker set in 5 colours, 78 x 105 mm, hardcover.

Four Piano Pieces Op. 1

Welcome to G. Henle Publishers, dear Maestro Kissin! We are honoured and proud to be able to publish the first three opuses by world-renowned, inspired pianist Evgeny Kissin, who for some years now has turned to composing in earnest. The first of these compositions – which, with this author, ought to surprise no one – is a cycle of four piano pieces. The “Toccata”, an insanely virtuosic tour de force in a jazz-inspired idiom, has already occasionally been heard performed as an encore at his concerts. With their titles, “Meditation” and “Dodecaphonic Tango” perfectly illustrate the respective moods of these expressive character pieces. The unpretentious “Intermezzo” grantsperformer and audience a brief moment of contemplation before the “Toccata”. Welcome to G. Henle Publishers, dear Maestro Kissin! We are honoured and proud to be able to publish the first three opuses by world-renowned, inspired pianist Evgeny Kissin, who for some years now has turned to composing in earnest. The first of these compositions – which, with this author, ought to surprise no one – is a cycle of four piano pieces. The “Toccata”, an insanely virtuosic tour de force in a jazz-inspired idiom, has already occasionally been heard performed as an encore at his concerts. With their titles, “Meditation” and “Dodecaphonic Tango” perfectly illustrate the respective moods of these expressive character pieces. The unpretentious “Intermezzo” grantsperformer and audience a brief moment of contemplation before the “Toccata”.

Complete Piano Sonatas Volume II w/o fg pb. : 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!

Puzzle - Beethoven, Moonlight Sonata : 500 pieces Format ca. 48 x 36 cm

Complete Piano Sonatas Volume II cb.

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!

Complete Piano Sonatas Volume II pb.

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!

Fantasies, Preludes and Fugues : Fantasies, Preludes and Fugues

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.

Waltzes Op.39 : Easy Arrangement

Following the publication of the 16 Waltzes for piano four hands, Brahms' publisher succeeded in persuading the composer to do a version for piano solo. After initially hesitating, Brahms suggested two versions, one for cleverhands and one - perhaps for the more beautiful ones. Both versions were published in 1867. The simplified one, which Brahms also called the version for children, not only thins out some of the full chords but also transposescomplicated keys. Thus no. 6 is no longer in C sharp major but in the easier key of C major instead. Henle is now issuing this simplified version of the popular Op. 39 based on the revised musical text of the new Brahms CompleteEdition.

Nine Songs Opus 5 : On Poems by Boris Sandler

A new work by cult pianist and composer Evgeny Kissin! These nine Yiddish poems were penned by his friend, the author and lyricist Boris Sandler (*1950). Kissin follows in his very folksong-like settings, which are easy for amateur music-lovers to sing and play, the prevailing mood of each poem, the titles of which - such as “Sternlein mit Mandeln” (Little stars with almonds), “Wenn der Kopf kein Topf ist” (When the head isn’t a pot), “Moschl-Kaposchl”, “Was weiss ich” (What do I know) - promise a subtle, cryptic and also entirely profound humour. This Henle edition presents the Yiddish song texts not only in Hebrew letters, but also transliterated into Latin characters, with an appendix additionally offering German and English prose translations of the poems.

Piano Sonata In F Minor Pp. 14

As is the case with quite a few of his works, there are two versions of Schumann’s opus 14 a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do not know the reason for the revision- the publisher of the first version was, however, delighted- he considered the “idea of the concerto” to be very up-to-date. Perhaps Schumann later reacted to what the dedicatee Ignaz Moscheles had said that the piece had “less of the demands of a concerto and more the characteristics of a grand sonata”. In our revised edition, which now also contains the complete early version, the editor Ernst Herttrich provides detailed information on bothversions in an extensive preface and commentary.?

Camille Saint-Saëns: Havanaise Op.83

Camille Saint-Saëns ' Havanaise Op.83 for Violin and Piano. Urtext edition. It is said that Camille Saint-Saëns ' was inspired to write Havanaise Op.83 after observing a crackling open fire at one of the hotels where he stayed whilst on tour with the violinist Rafael Diaz Albertini in 1885. We do not know whether, when writing the composition two years later, the Habanera (French Havanaise) with its typical two beat dance rhythms was an allusion to the Cuban origin of his friend Albertini , to whom this work is dedicated. At any rate, the composition was extremely well received from the very beginning, both in its original form and in the Orchestral version. Ingolf Turban kindly provided the bowings for the virtuoso Violin part.

Variations In F Minor

Haydn’s last piano work is also considered to be his most famous single work for this instrument. The minor theme is filled with emotional depth: “a melancholy andante in f minor, with variations, as only a genius can do them, that almost sounds like a free fantasia” (thus described in a review of the time). The form is also demanding: not merely one theme but two one in a major key, the other in a minor one are varied in turn. The autograph gives one to believe that the work was originally intended to be the first movement of a sonata. This single edition has been taken from the recently revised volume of “Piano pieces” (HN 224) and furnished with a detailed commentary.Henle also recently published a facsimile of Haydn’s autograph of the Variations in f minor: HN 3218.?

Symphony in F major Hob. I:89

According to his dating of the autograph, Haydn composed the Symphony no. 89 in F major in 1787, just one year after the six so-called Paris symphonies. It was written, together with its sister work, the G-major Symphony no. 88, for the violinist Johann Tost, who sold it to the Parisian publisher Sieber. In both works, Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration, richness of musical ideas and details, and an idiosyncratic, multicoloured use of the wind section (which still makes do without Clarinets). In contrast to the buoyant G-major symphony, the F-major symphony possesses a ratherpastoral, sweet character, which in parts can nevertheless soar to dramatic heights. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.

Symphony in G major Hob. I:88

Haydn probably composed his Symphony no. 88 in G major in 1787, just one year after the six so-called Paris symphonies. It was written, together with its sister work, the F-major Symphony no. 89, for the violinist Johann Tost, who sold it to the Parisian publisher Sieber. In both works, Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration, richness of musical ideas and details, and an idiosyncratic, multicoloured use of the wind section (which still makes do without Clarinets). The G-major symphony is characterised by its cheerful, almost cheeky inflection – the theme of the rondo finale in particularpossesses the strong qualities of an earworm. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.