Dvorak: Humoresques Op 101 Piano

In the summer of 1894, Antonín Dvořák interrupted his stay in America in order to spend his holidays back in his homeland of Bohemia. During those happy weeks, he wrote his eight Humoresques for piano. But this music is not by no means as “Bohemian” as one might suppose. We know that Dvořák had already sketched some of the material for these pieces in New York, and there are also indications that the composer initially considered writing a series of Scottish dances. In other words, these are thoroughly international pieces, with an inflexion all of their own. And they are of a medium level of difficulty, enabling pianists of all ages to discover a lot more than just the famous, catchy tune of no. 7. This Henle Urtext edition is based on the first print, which the editors have carefully checked against the autograph.

Ludwig van Beethoven: Piano Sonata A major op. 101

No one seriously interested in Beethoven's piano music or his compositional processes should be without this beautiful publication, which is exemplary of its kind.

Dvorak: Humoresque In G Flat Op 101 No 7 Piano

Many a pianist will be surprised to learn that Dvořák’s famous Humoresque no. 7 was originally a piano piece, since this irresistible melody – undoubtedly one of Dvořák’s happiest inspirations – has circulated throughout the musical world in innumerable arrangements for every conceivable combination. The composer himself, however, wrote only this piano solo version. The complete cycle of eight Humoresques is available in another Henle Urtext edition (HN 1044), while this “lollipop” of the eight is now available in a stand-alone edition. Not least because of its only moderate difficulty, it is a must for piano fans of all ages!

Franz Joseph Haydn: Arrangements Of Folk Songs No.101 - 150 Scottish Songs For William Napier (Henle Urtext Edition)

Beethoven Pf Sonata No28 In A Op101

The Piano Sonata op. 101 marks the transition to Beethoven’s late works. The composer’s increasing deafness was already manifesting itself in such a marked way that he no longer dared to appear publicly as a pianist. In this sonata he experimented with unusual harmonies, broke with form, gave detailed German headings for the movements, and for the first time also used a note so “unheard of” that it was not even on most of the contemporary pianos: the low counter E. The editors have undertaken a thorough revision of our edition and our catalogue now offers a single edition of this sonata.

Johann Sebastian Bach: English Suites BWV 806-811

Although people might like to think that the “ English Suites ” were composed after the “French Suites” (HN 71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach ” (from our preface). The kaleidoscopic variety of the six “ English Suites ” is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103).

J.S.Bach: English Suites 4-6 BWV 809-811

Although people might like to think that the “ English Suites ” were composed after the “French Suites” (HN 71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach ” (from our preface). The kaleidoscopic variety of the six “English” suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN 9100).

J.S.Bach: English Suites BWV 806-811

Although people might like to think that the “ English Suites ” were composed after the “French Suites” (HN 71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach ” (from our preface). The kaleidoscopic variety of the six “English” suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN 9100).

Johannes Brahms: Piano Trios

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.

Johannes Brahms: Klaviertrios (Urtext)

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.