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Concerto for Horn and Orchestra D major Hob. VIId

Concerto for Horn and Orchestra D major Hob. VIId

Two of Joseph Haydn’s three concertos for horn and orchestra have been lost, while two further horn concertos have often been mistakenly ascribed to him. Haydn’s sole surviving horn concerto, whose authenticity is not in doubt is this one in D major, Hob. Vlld:3. Our Urtext edition is based on the Haydn Complete Edition, and offers two solo parts: that in D follows Haydn’s autograph, while we also supply a part for the modern horn in F. Solo cadenzas are provided for all three movements. The cadenzas printed in the enclosed horn parts are by horn player Johannes Ritzkowsky, as far as possible they exploit the limited possibilities offered by the natural horn of Haydn’s own time.They should not cause today’s horn players any great problems, and will be a welcome bonus.

SEK 218.00
1

Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy Piano Music - 18th and 19th Century

Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy Piano Music - 18th and 19th Century

With this Urtext edition compiled by the expert pianist and piano instructor Walter Georgii, the budding pianist is offered a little overview of the variety of classical-romantic piano literature. The selection and organization is chiefly oriented on the beauty, popularity and performability of the pieces. Behind this is the intent to present to the player a kind of colourful spectrum of interesting works ranging from clear across a wide variety of eras, next to the “great” names, one can also make surprising discoveries of lesser known composers. Volume I contains the easier pieces, while only two reach difficulty level 5, most of the others lie between levels 2 and 4.

SEK 245.00
1

String Quartet Op. 3

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

SEK 176.00
1

Andante in C major for Horn and Piano

Andante in C major for Horn and Piano

In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece. In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece.

SEK 176.00
1

String Quartet Op. 3

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

SEK 245.00
1

21 Etüden für Violoncello : 21 Etudes for Violoncello

21 Etüden für Violoncello : 21 Etudes for Violoncello

“More than 20 years ago I was called upon by friends, artists, and aficionados to write about fingerings for the violoncello,” then-famous Berlin cellist Jean-Louis Duport thus opens his “Essai” from 1806, dedicated to “Professeurs de Violoncelle”. His methodology revolutionized cello technique, and the 21 etudes printed in its appendix are still regarded today as perhaps the most important set of studies for all budding cellists. Modelled after the volumes of etudes for violin, Henle is also issuing the Urtext here, together with all original fingerings and bowings, while also offering alternatives by the famous cellist and teacher Wolfgang Emanuel Schmidt. This edition also offers a second cello part provided by Duport for accompaniment.

SEK 292.00
1

For Children Volume 1

For Children Volume 1

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

SEK 229.00
1

Six Variations in F major op. 34

Six Variations in F major op. 34

Like the “Eroica Variations” op. 35, the Variations op. 34, were composed in 1802 on an original theme. The “new fashion” Beethoven declared for both works to his publisher becomes apparent in opus 34 through the constant change of keys; from one variation to the next, new tone colours and moods continue to unfold, spanning the pastoral and the funereal, while the melody of the theme remains largely unaltered. For the first time, the Variations op. 34, are now available from Henle in a standalone edition. The musical text of the Urtext edition, with extensive foreword and commentary, was prepared on the basis of the later Critical Apparatus of the BeethovenComplete Edition. Here, too, the fingering comes from the esteemed hands of Ian Fountain.

SEK 133.00
1

For Children Volume 2

For Children Volume 2

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

SEK 229.00
1

Sonate F-dur Opus 6 für Violoncello und Klavier : Sonata in F major op. 6 for Violoncello and Piano

Sonate F-dur Opus 6 für Violoncello und Klavier : Sonata in F major op. 6 for Violoncello and Piano

Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata op. 6 numbers among the most mature works of chamber music from Strauss’ early œuvre. The influences of Mendelssohn, Schumann, and Brahms are noticeable, while leaving sufficient space for a very personal tonal language, often with surprising rhythmic and harmonic turns of phrase. Strauss subjected the first version completed in early 1881 to a radical revision over the winter of 1882/83; the opening movement was thoroughly reworked, the two subsequent movements rewritten completely. It was worth it, because after the premiere in Dresden, the composer wrote to his mother, “My sonata garnered extraordinary acclaim, the applause was enormous, congratulations came to me from all sides.”

SEK 345.00
1

Arias, Duet, Trio

Arias, Duet, Trio

The works for solo voice(s) and Orchestra assembled in this volume owe their composition to the most diverse occasions. Some were tailor-made for female singers in Beethoven’s milieu, while with others he was dabbling in the field of Italian opera (under the tutelage of none other than Antonio Salieri). Scarcely any of them made it into print during Beethoven’s lifetime. Aside from canonical works of the repertoire such as “Ah! perfido” op. 65, this volume also contains unknown gems like the scene and aria Beethoven revised multiple times, “No, non turbarti” – “Ma tu tremi, o mio tesoro?”. The study score contains the textof the scholarly Complete Edition. Beethoven specialist Ernst Herttrich additionally provides information about the genesis and exciting variants in the transmission history.

SEK 261.00
1

Overture No. 1 : For the Opera Leonore (1807)

Overture No. 1 : For the Opera Leonore (1807)

Beethoven wrote a total of four overtures for his only opera, “Leonore”/ “Fidelio”. The so-called Leonore Overture no. 1 is third in the series by chronology, having been written in 1806/07 for a performance in Prague that never materialised. For a long while it was erroneously regarded as a predecessor to the Leonore Overture no. 2 that Beethoven discarded, which greatly tarnished its reception. And yet it pays off to take an impartial look at this overture, which is substantially shorter than nos. 2 and 3, since with its more lyrical than dramatic character, it casts a new light on Beethoven’s struggle to find the ideal opening to his stage work. Featuring a new preface, itnow appears as a study edition prepared on the basis of the musical text of the Beethoven Complete Edition. Beethoven wrote a total of four overtures for his only opera, “Leonore”/ “Fidelio”. The so-called Leonore Overture no. 1 is third in the series by chronology, having been written in 1806/07 for a performance in Prague that never materialised. For a long while it was erroneously regarded as a predecessor to the Leonore Overture no. 2 that Beethoven discarded, which greatly tarnished its reception. And yet it pays off to take an impartial look at this overture, which is substantially shorter than nos. 2 and 3, since with its more lyrical than dramatic character, it casts a new light on Beethoven’s struggle to find the ideal opening to his stage work. Featuring a new preface, itnow appears as a study edition prepared on the basis of the musical text of the Beethoven Complete Edition.

SEK 192.00
1

Violoncello Sonata A Major Op. 69

Violoncello Sonata A Major Op. 69

Of Beethoven's five cello sonatas, the Grande Sonate op. 69, published in 1809, is not only the centerpiece, but also musically the most significant. The artful coupling of the two instruments is on display from the outset in analmost programmatic manner, when the cello with its tenor timbre first intones a melody that the piano then continues. In this sonata, too, Beethoven dispenses with a slow movement while nevertheless compensating us with anenchanting Adagio cantabile introduction to the finale. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarlylevel. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

SEK 176.00
1

Piano Sonata B flat major KV 333

Piano Sonata B flat major KV 333

The great pianist Paul Badura-Skoda counts the first movement of this B-flat major sonata K. 333 as “among the most beautiful … in the piano literature.” And who would want to contradict him? What a pyrotechnic display of wonderful and freely vibrant melodies in the first movement, artfully coupled with pianistic runs and flourishes! The sublime slow movement (“Andante cantabile”) could pass as the piano reduction of a string quartet, while the concluding “Allegretto grazioso” is like the jaunty but subtle dance finale from an opera buffa. As we know today, Mozart composed this miraculous sonata in 1783 previous Mozart scholarship missed the mark entirely with its muchearlier date. It appeared in print a year later, interestingly in combination with the (relatively) early piano sonata K. 284 and the grandiose violin sonata K. 454.

SEK 165.00
1

Harpsichord Concerto no. 2 in E major BWV 1053

Harpsichord Concerto no. 2 in E major BWV 1053

It is almost impossible to tell from listening to them that Bach’s extremely popular concerti for harpsichord were probably his own transcriptions of solo concerti which had originally been composed for violin or a woodwind instrument. The outer movements of the second concerto, in E major, probably written around 1738, sparkle with joy, while the expressive melodic lines of the middle movement, the Siciliano in C-sharp minor, transport the listener to the realm of his Passion music. G. Henle Publishers presents this repertoire standard in an Urtext edition with an extensive commentary. The study edition (HN 7381) features the complete orchestral score: the piano reduction (HN 1381) contains the solo part as well as a very playable piano reduction of the score prepared by Johannes Umbreit for practical use.

SEK 176.00
1

The Lark : Arrangement for Piano

The Lark : Arrangement for Piano

“The Lark” is one of the most popular Russian songs of the Romantic era, composed by the founder of the Russian nationalist school, Mikhail Glinka. His fellow countryman, Mili Balakirev, took this simple, melancholy air as the basis for a highly virtuosic piano transcription la Liszt. It is an impressive bravura piece of moderate length that is ideally suited as an encore or in recitals. While researching this new Urtext edition, G. Henle Publishers succeeded in unearthing two sensational sources: Balakirev’s autograph manuscript, believed to have been lost, was rediscovered, as was a print copy with revisions in the composer’s own hand that documents the definitive version. Not only the edition, but the fingerings, too, are of the very highest quality; they were prepared by Russian star pianist Evgeny Kissin.

SEK 117.00
1

Cantatas

Cantatas

Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well! Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well!

SEK 393.00
1

24 Caprices

24 Caprices

Together with Pierre Baillot and Rodolphe Kreutzer, Pierre Rode founded the important Franco-Belgian Violin school at the end of the eighteenth century. Celebrated throughout Europe, this violinist gives impressive testament to his technique with his “24 Caprices en Forme d’Études” in all keys. While concentrating completely on studying technical phenomena, he created valuable compositions that recall Paganini’s pieces of the same name. To this day, the “Caprices” are a milestone in every violinist’s education (conservatory level). For the first time, G. Henle Publishers’ Urtext edition clarifies in detail the matter of the source situation (firstedition and revised edition) and offers the musical text in the “definitive version” with all historical notations. As a Rode specialist of the first order, violinist Friedemann Eichhorn assisted with the preparation of this edition and contributed fingering and bowing suggestions ideal for contemporary Violin instruction.

SEK 261.00
1

Serenade Melancolique Op 26 For Violin & Piano : for Violin and Piano

Serenade Melancolique Op 26 For Violin & Piano : for Violin and Piano

Following the publication of the Valse-Scherzo, we continue Henle's edition of Tchaikovsky’s complete works for violin and piano with the enchanting Sérénade mélancolique, op. 26. This was Tchaikovsky’s first concertante work for violin, the beginning of a path that was to lead to his Violin Concerto three years later. He composed the Sérénade mélancolique in 1875 for violinist Leopold Auer, originally for violin and orchestra, but later also in a version for violin and piano. Since the autograph sources are lost, this Henle edition is based on the Russian first editions, which even in Tchaikovsky’s lifetime were issued in a number of revised versions. The editor, RussianTchaikovsky scholar Alexander Komarov, brings exemplary clarity to the confused state of the sources, while Ingolf Turban unlocks the notation of the violin part with his accomplished fingerings and bowings.

SEK 192.00
1

Le Festin d?Ésope op. 39 no. 12 : Le Festin d?Ésope op. 39 no. 12

Le Festin d?Ésope op. 39 no. 12 : Le Festin d?Ésope op. 39 no. 12

Charles Valentin Alkan’s cycle of variations Le Festin d’Ésope derives from his monumental series of etudes op. 39, the 12 Études dans tous les Tons Mineurs, and forms the culmination of that work. Now G. Henle Publishers presents, for the first time in an Urtext edition, what is by far the most well-known piano composition by this French pianist and composer notorious for the extreme virtuosity of his works. Because no autograph manuscripts survive, the first edition from 1857 is the sole source. The premier Alkan scholar Wolfgang Rathert gives details about the life and œuvre of the composer in his preface, while fingerings are provided by the Italian keyboardvirtuoso Vincenzo Maltempo, who has recorded numerous works by Alkan. By popular demand, this composer may also now finally assume his place in the Henle Urtext catalogue!

SEK 208.00
1

Studies Op. 18

Studies Op. 18

With these three studies Bartók quite deliberately aimed to leave his mark on New Music in 1918. The first study is a kind of super-charged, motorically vehement Allegro barbaro, while the second, with its effervescent waterfallsof sound, seems redolent of an elegy inspired by Debussy. In the third, by contrast, Schönberg's influence is recognizable. The latter's Private Musical Performances in Vienna were also among the few occasions in the 1920s whereBartók's supremely demanding cycle - for performers and for listeners - was played multiple times. Published by Universal Edition in 1918, the initial printing of the first edition was sold out so quickly that a second was alreadyissued in 1921. László Somfai's Urtext edition is based on the musical text of the Bartók Complete Edition and, in addition to an exciting preface on the origins of the piece, features interesting, practical suggestions forperformance as well. Joint publishing venture with Editio Musica Budapest

SEK 176.00
1

Sechs Partiten BWV 825-830 : Six Partitas BWV 825-830

Sechs Partiten BWV 825-830 : Six Partitas BWV 825-830

Bach’s Six Partitas form what is presumably the most famous and challenging collection of suites in music history. Bach was aware of the weightiness of his cycle as he initially had these multi-movement partitas, composed in Leipzig between 1726 and 1730, published in individual editions. This culminated in their publication in an anthology that proudly sports the opus number “1” in 1731. Their diversity of forms knows no bounds and the musical texture is infused with the most ingenious counterpoint, but at the same time performers will not miss out on the enjoyment of virtuosic playing in any way. G. Henle Publishers presents this magnum opus in a revised Urtext edition that consults the original editions as well as autograph sources while also extensively documenting the numerous entries in correction copies from Bach’s circle. In addition, the ornamented versions have been included in the appendix. A true milestone!

SEK 308.00
1

Violoncello Sonata C Major Op. 102 No. 1

Violoncello Sonata C Major Op. 102 No. 1

Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethoven's late style. One reviewer of the original edition noted in 1818 that they doubtless number among the most unusual andpeculiar things written in a long while. Proceeding from the established Classical schema, here Beethoven explores possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello oeuvre. In theSonata in C-major, unusual elements emerge in the very structure: two fast movements, each preceded by short introductions at a slow tempo - an idiosyncratic, unique formal construction. The Urtext edition by Jens Dufner is basedon his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of thesonata. Ian Fountain and David Geringas provide the fingerings.

SEK 139.00
1