Ludwig Van Beethoven: Samtliche Lieder Band I (Urtext)

Ludwig Van Beethoven: Samtliche Lieder Band I (Urtext)

Franz Joseph Haydn: Streichtrios Heft I

Joseph Haydn composed twenty-one string trios for two violins and violoncello, of which three have been lost. These chamber music gems, which do not turn up very often on concert programs, are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition, also published by G. Henle, Haydn’s eighteen surviving string trios are presented in two practical volumes. The first contains Trios Hob. V:1 8 and 10 13. The preface to this Urtext edition offers valuable information about the genesis of the trios. Moreover, it contains numerous hints on performance practice, concerning for example the execution of embellishments.

Franz Joseph Haydn: Piano Trios, Volume I

Franz Joseph Haydn 's Piano Trios, Volume I for Violin, Cello and Piano. Urtext edition score.

J.S. Bach: The Well-Tempered Clavier Part I BWV 846-869 (Edition Without Fingering)

A highly accurate and authoritative edition of J.S. Bach's The Well-Tempered Clavier Part I BWV 846-869 as edited by Ernst-Gunter Heinemann.

J.S. Bach: Das Wohltemperierte Klavier - Teil I

The world-famous pianist András Schiff, a most familiar name to Bach fans on account of his complete recordings of Bach?s piano works, has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle?s revised edition of Part I published in 1997 and Yo Tomita?s brand new revision of Part II (spring 2007). A detailed commentary rounds off the editions.

Franz Schubert: Klaviersonaten Band I

Schubert’s 22 piano sonatas sketch a very illuminating picture of the prematurely departed composer’s compositional path. From the first essays of the gifted young 16- to 19-year old, one can trace a continuous development leading to the five great sonatas which he wrote in the years 1823 and 1826, and finally to the three masterworks written shortly before his death, which place him on a level with Beethoven as a composer of sonatas. Volume I of the three-volume Henle Urtext edition of Franz Schubert’s piano sonatas contains seven sonatas from the two earlier periods as well, which all became known with opus numbers. Only two were published during Schubert’s lifetime. Thebook opens with what is no doubt the best-known sonata of these two periods, the A-major Sonata D 664 op. post. 120. Given the length of time between the composition of each 1817, 1823, 1825 the works present a great diversity of forms and expression.

Franz Joseph Haydn: Complete Piano Sonatas, Volume I

Franz Joseph Haydn was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the Piano trio and his contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet". At the time of his death, aged 77, he was one of the most celebrated composers in Europe. Franz Joseph Haydn: Complete Piano Sonatas, Volume I includes 12 sonatas for solo Piano. This Urtext Edition is an authoritative edition with accurate editorial content and as close to the composer's intentions as possible.

Franz Joseph Haydn: Klaviersonaten Auswahl Band I (Urtext)

Joseph Haydn’s piano sonatas are a compendium of masterly compositional and pianistic technique as well as a collection of charming and witty ideas. With our two-volume edition of selected works, we would like to introduce pianists to the most interesting of the altogether 52 sonatas. Volume I contains twelve sonatas from the first two volumes of Henle’s three-volume collection of Haydn’s complete piano sonatas. The editor has also chosen pieces that, while less known, are no less stunning. The sonatas are organized in chronological order, making it easy to follow the development of Haydn’s piano style up to 1780.

Franz Xaver Mozart: Complete Piano Works Volume I

Franz Xaver Mozart was W. A. Mozart?s youngest son. Intended for a career in music by his mother from the very beginning, he followed in his father?s footsteps but was not able to step out from under his shadow during his lifetime. In Henle's urtext edition in two volumes (Volume II, HN 959) they are publishing all of his Piano works for two and three hands for the first time. Volume I contains nine, in part very extensive variation cycles (one of them is a first publication), an expansive Fantasia in A major (also a first publication) and the Sonata op. 10 with four movements. A cycle of variations for three hands brings the volume to an original close.

Robert Schumann: Fairy-Tale Pictures For Violin And Piano Op.113

In 1838 Robert Schumann complained: “The piano is becoming too narrow for me. I often hear in my current compositions a lot of things that I can hardly indicate”. Thus, in 1840, Schumann dedicated himself above all to art songs. Symphonies and chamber music works followed in the subsequent years. Schumann wrote his “Fairy Tale Pictures op. 113 for viola (or violin) and piano” in March 1851. An elegiac mood predominates in these four short character pieces. The four movements do not bear fairy-tale titles, but rather unpretentious tempo markings: “Not fast”, “Lively”, “Quickly” and finally “Slow, with melancholy expression”. Previously inaccessible, the autograph wasconsulted for the first-ever time for this edition, enabling us to clarify a number of questionable passages.

Johannes Brahms: Symphony No.4 In E Minor Op.98 (Study Score)

The genesis of the Fourth Symphony possibly goes back to the 1870s when Brahms was studying the Bach Cantata ?Nach dir, Herr, verlanget mich?, whose chaconne theme forms the nucleus of the finale. Around 29 August 1885 Brahms wrote to Hans von Bülow from Mürzzuschlag in Styria: ?However I have a few entr?actes ? which together form what one would usually call a symphony. [?] I am afraid [?], it takes after the climate in this region ? the cherries do not ripen here.? Yet we are by no means speaking of ?sour? cherries here. The work is today a part of the canon of classical-romantic symphonies. Our handy and inexpensive priced study edition is based on the musical text in the Johannes Brahms Complete Edition (HN 6015).

Max Reger: Clarinet Sonata Op.107 - Version For Viola (Urtext)

Just as Johannes Brahms had done with his Opus 120, Reger also provided parts for two alternative solo instruments for his Sonata op. 107: "I will also arrange the clarinet part for viola, so that the work can also be played thus" (letter to his publisher). He by no means wanted to leave the arrangement of the viola part to the publisher, as slurs had to be changed here and there as well as octave transpositions had to be made - "only I can do this work!" The viola?s sonorous mid range comes close to that of the clarinet, but lends the work its own timbre. Viola players will also value this Urtext edition on account of the practical fingerings and bowing marks.?

Claude Debussy: Piano Works - Volume I (Paperback)

To mark the 150th anniversary of Debussy?s birth in 2012, Henle are proud to present a tribute to his piano solo works in three volumes, available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music, it was important for Henle to give a special place to the works of Claude Debussy, the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy?s important works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy?s elaborate music in high quality Urtext editions. Beginning with the "Danse bohémienne" from 1880, all of the single works from Henle's catalogue have been drawn together in these three volumes, arranged according to their date of composition. And as a little "encore" Henle have included the Prélude to the cantata "La Damoiselle élue" in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy?s often very vivid performance instructions translated into English and German. Bon anniversaire, Claude Debussy!?

Claude Debussy: Piano Works - Volume I (Hardback)

To mark the 150th anniversary of Debussy?s birth in 2012, Henle are proud to present a tribute to his piano solo works in three volumes, available as a paperbound or a clothbound edition. As a publishing house whose main focus is on piano music, it was important for Henle to give a special place to the works of Claude Debussy, the innovator of piano style. Thus since the early 1980s they have steadily been publishing single editions of all of Debussy?s important works for the piano. Henle's editor Ernst-Günter Heinemann has worked closely with the French Debussy scholar François Lesure to present Debussy?s elaborate music in high quality Urtext editions. Beginning with the "Danse bohémienne" from 1880, all of the single works from Henle's catalogue have been drawn together in these three volumes, arranged according to their date of composition. And as a little "encore" Henle have included the Prélude to the cantata "La Damoiselle élue" in volume I. Each of the three volumes contains true highlights for the piano. But the short and lesser known works also offer a glimpse at the modern classical composer Debussy from a different angle. In addition each volume contains a helpful glossary with all of Debussy?s often very vivid performance instructions translated into English and German. Bon anniversaire, Claude Debussy!

Franz Schubert: Works for Piano four-hands, Volume I

No other great composer has left so many works for piano four-hands as Franz Schubert altogether 54 (32 of these with opus number): fantasies, dances, marches, variations, rondos, sonatas etc. Playing music together, often in a social circle, was a precious pastime of Schubert’s circle of friends. The young composer provided the musical background for these rousing concerts and exuberant performances. The pieces are chronologically arranged in the three Henle Urtext volumes showcasing Schubert’s piano duets. Volume I contains three very early pieces from the years 1810 to 1813, the other works stem predominantly from the greater part of the year 1818, and which include thesplendid Grande Sonate in B flat major D 617. The final section is comprised of two pieces from works that are chronologically difficult to situate and to lay down an exact time of origin, one of these, Allegro Moderato und Andante, D 968, was occasionally also designated as “Sonatine” and was written most probably for instructional purposes.

Franz Schubert: Werke Fur Klavier Zu Vier Handen - Band I

No other great composer has left so many works for piano four-hands as Franz Schubert altogether 54 (32 of these with opus number): fantasies, dances, marches, variations, rondos, sonatas etc. Playing music together, often in a social circle, was a precious pastime of Schubert’s circle of friends. The young composer provided the musical background for these rousing concerts and exuberant performances. The pieces are chronologically arranged in the three Henle Urtext volumes showcasing Schubert’s piano duets. Volume I contains three very early pieces from the years 1810 to 1813, the other works stem predominantly from the greater part of the year 1818, and which include thesplendid Grande Sonate in B flat major D 617. The final section is comprised of two pieces from works that are chronologically difficult to situate and to lay down an exact time of origin, one of these, Allegro Moderato und Andante, D 968, was occasionally also designated as “Sonatine” and was written most probably for instructional purposes.

Robert Schumann: Humoresque In B Flat Op.20 - Revised Edition (Urtext)

Do you not know Jean Paul, our great writer? I have learnt more counterpoint from him than from my music teacher. Jean Paul's "Vorschule der Ästhetik" with its extensive treatment of humour probably occasioned Schumann to think of giving a Piano work the title "Humoreske" ? thus giving birth to a new musical genre. The "romantic humour" is not, however, aimed at humour in a modern sense of the word, but rather at a portrayal of the fragility and contradictory nature of the human condition. As if in a kaleidoscope, Schumann juxtaposes the most diverse elements of form and moods. Ernst Herttrich's revision reflects the latest scholarly findings for this unusual work.

Bohemian Violin Sonatas Volume I

The names of the composers included here read like a ?Who is Who? of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda, J. Stamitz, J. L. Dussek and J. B. Vanhal, in their time names that were known throughout Europe, and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn, Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colourful bouquet of worthwhile discoveries.

Flute Music I Baroque Period

When it comes to flute music of the Baroque era, the works of Bach and Handel are unsurpassed in musical stature as well as in recognition and popularity, and thus it is easy to overlook the fact that many other composers of that same period also wrote attractive music for the instrument. As an example, consider the introductory slow movement of Johann Christian Schickhard’s Sonata in a minor, where over a descending chaconne bass the flute interweaves a rich variety of melodic phrases. This is just one of the musical surprises to be discovered in this multifaceted volume.

Beethoven: Piano Sonatas - Volume I

The clothbound Urtext edition.

Franz Schubert: Klaviersonaten Band I (Urtext)

W.A. Mozart: Piano Sonatas Volume I

Claude Debussy: Images -1894 (Henle Urtext Edition)

This work only has the title in common with the well-known “ Images ” I and II from 1905 and 1908. Debussy dedicated the three-part cycle to the daughter of a painter friend, writing: “These pieces shy away from brightly lit salons, in which people are usually to be found who do not care for music. They are rather soliloquies of the Piano and the self and it is not forbidden to employ the special mood conjured up by rainy days”. The slow movement – it resurfaces in a slightly altered form as the middle movement of “Pour le Piano” – is associated with the atmosphere in the Louvre and its old paintings. This is Impressionist music of a very special kind.

Ludwig Van Beethoven: Klaviersonaten Band I (Urtext)

Beethoven ’s 32 Piano Sonatas are often referred to as the “New Testament of Music” (Hans von Bülow). Since the publication of our complete edition in two volumes, experts have praised it as being the most reliable Urtext edition. Its contents: an almost inexhaustible wealth of pianistic, musical flights of inspiration, predominantly high profile works – the Sonatas “ Pathétique ”, “ Moonlight ”, “ Storm ”, “ Appassionata ”, “ Waldstein ”, “ Hammerklavier ”. Even if one will never (be able) to play them all, the acquisition of the “New Testament” is always worthwhile, whether clothbound, paperbound or as a study edition in Henle Urtext.

Franz Joseph Haydn: Streichtrios Heft I (Urtext)