Sonata For Cello & Piano In F Major : Sonata for Piano and Violoncello in F major op. 99

Brahms’ cello sonatas are probably amongst the most beautiful that has ever been written for this instrument. The publication of the two works in the new Brahms Complete Edition has prompted us to publish a new Urtext edition of the Sonata in F major. This classic work in our catalogue (to date HN 19) has now been newly engraved and reflects current scholarly findings. Johannes Behr has also provided extensive details regarding its genesis and the edition. Both the piano and cello parts have fingerings, but there is also an unmarked part for the cello.

Serenade for Wind Instruments Op. 7 : In E Flat Major

When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously. When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.

Serenade for Wind Instruments Op. 7 : In E flat major

When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously. When he was a mere 18 years old, Richard Strauss composed the highly Romantic, one-movement Serenade for Wind Instruments, op. 7. Extremely popular among wind players to this day, this work recalls in instrumentation and structure Mozart’s “Gran Partita”, which certainly served as a model for Strauss. The serenade was not premiered in its Bavarian homeland as might have been expected, but rather in Dresden, in 1882, under the direction of the then much-esteemed conductor Franz Wüllner, who had also given the inaugural performances of Richard Wagner’s Rheingold and Die Walküre and later premiered Strauss’ tone poems Till Eulenspiegel and Don Quixote. So it was a great honourfor the young Bavarian! Editor Norbert Gertsch presents this little masterwork here for the first time in Urtext quality – in full score and instrumental parts – for which not just the first edition but also the autograph manuscript was scrutinised fastidiously.

Sonata In F For Piano And Horn Or Cello Op.17

Even though the majority of Beethoven’s wind chamber music works were composed for specific occasions with prescribed scorings, their importance is not limited by their functional nature. Beethoven always aspired to treat the various genres in the most original way possible. Horn players can thus enjoy Beethoven’s Horn Sonata op. 17, which the composer wrote in 1800 for a concert in Vienna’s Hofburg Theatre for the most famous horn player of his day, Giovanni Punto (Johann Wenzel Stich). At that time, an alternative instrumentation was necessary for successful dissemination of the work, so this Urtext edition, like the first one, includes a violoncello part in addition to theone for horn.

Concerto in B Minor Op. 35 for Violin and Piano

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.

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.

Prelude and Fugue in D major for Organ

Arrangement for Piano

Romance in F major : Romance in F major for Violoncello and Orchestra

Just a few months after completing his Cello Sonata op. 6, Strauss composed another work for this instrument: a Romance for cello and orchestra, which remained unpublished during his lifetime. According to the autograph manuscript, the composition was finished on June 27, 1883, and Strauss also prepared the piano reduction himself. The Romance is regarded as one of Strauss’ most mature youthful works, though it was long overshadowed by the cello sonata, despite several quite successful performances given by the then-famous principal cellist of the Munich Court Orchestra, Hanuš Wihan. Only since the posthumous first edition of 1986 has the music world been rediscoveringthis striking work, which now also appears in a Henle Urtext edition.

Protector for Musik Reader : Tablet Protector for 12,9'' iPad Pro

Protective clothbound cover in Henle blue for Apple's large iPad Pro (12,9'' 32,78 cm). Includes a holder for an Apple Pencil. (iPad not included.)

Robert Schumann: Sonata For Violin And Piano In A Minor Op. 105 (Henle Edition)

Robert Schumann ’s Sonata For Piano And Violin In A Minor Op. 105 (also known as Violin Sonata No. 1) was written in only a few days, in September 1851. It consists of three movements – 1. Mit leidenschaftlichem Ausdruck (dotted quarter=68), 2. Allegretto (eighth note =96) and 3. Lebhaft (quarter note = 94), with the main theme present in all of them, linking the whole sonata together. The wealth of imagination, energy of sentiment and depth of thought in the sonata was acknowledged by Wasielewski – fellow musician and Schumann ’s first biographer. This publication takes the composer’s personal copy of the score and the separate Violin part as its principal sources, coming as close to the original intentions of Schumann as possible. An editorial preface by Wiltrud Haug-Freienstein is also included in German, English and French. This Sonata is challenging but rewarding for both Piano and Violin. Total performance time is approximately 18 minutes.

Concertino in a minor op. 21 in Hungarian Style : Concertino in a minor op. 21 in Hungarian Style for Violin and Piano

With this one-movement Concertino, Oskar Rieding turns to already advanced students of the violin. Aside from playing in third position, it also requires a considerable degree of dexterity and mastery of bowing. The Hungarian style” mentioned in the title alludes to the fact that Prussian-born Rieding gave more than three decades of service at Budapest’s National Theatre. Its marked rhythms recall Hungarian folk music and will appeal to more spirited young violinists. The Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer to this Urtext edition: the markings in the solo part are provided by the experienced violinistEvelyne Grüb-Trauer.

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.

Suites for Keyboard

Johann Jacob Froberger may no longer be considered the progenitor of the Piano suite, but his suites for keyboard instruments have, without a doubt, had a considerable influence on the development of this genre. His programmatic suites, of which some bear autobiographic features, attained particular fame. Others are marked “Lamentation” or “Méditation” in view of his own imminent death. For the first time, all his suites are now being published in one volume as the Urtext – an unparalleled compendium of Froberger’s art, edited by harpsichordist Pieter Dirksen. A must, not just for fans of Froberger, but also for pianists wishing to explore this repertoire on the Piano

Concerto for Orchestra

With the “Concerto for Orchestra,” Henle inaugurates a series of affordable study scores based on the text of the Bartók Complete Edition. When Bartók received the commission to compose this piece from Serge Koussevitsky in May 1943, it meant not only financial support, but also an important creative impetus for the gravely ill composer. By October, the five-movement concerto, which Koussevitsky enthusiastically dubbed “the best orchestral work of the last 25 years,” was already complete. The first performances in the winter of 1944–45 were also very successful. Nevertheless, Bartók was moved to set down an alternate ending, which thecomposer, who passed away in September 1945, would never be destined to hear. Bartók specialist Klára Móricz includes both versions in her edition and summarises the history and transmission of the “Concerto for Orchestra” in a fascinating foreword. A brief commentary section provides information about the principles underlying the edition.

Toccata in d minor for Organ BWV 565 : Arrangement for Piano

Concerto for Organ : Concerto for Organ (Harpsichord)

Joseph Haydn left five organ concerti to posterity. Their genesis can only be approximately determined, but is probably datable to the 1750s, when Haydn was still active, inter alia, as organist to Count Haugwitz. The C major Concerto Hob. XVIII: 10, transmitted only in one single manuscript, was not rediscovered until the 1960s and first published by the Henle Urtext edition in 1969. In the sole surviving manuscript, the solo instrument is identified as a harpsichord, but various criteria unequivocally suggest that it was intended for the organ. It belongs to the type of brief, easily playable solo concerto with string accompaniment.

Norwegian Dances op. 35 : Version for Piano

The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. For his Norwegian Dances op. 35, presented here in an Urtext edition, Grieg took old folk tunes from a collection published by the musician and researcher Ludvig Mathias Lindeman and arranged them for piano four hands in 1880. A few years later, Grieg also made the two-hand version presented here. For this Henle Urtext edition, all the extant autographs in the Grieg Archive in Bergen, Norway were consulted along with the contemporary first editions. The co-editor here is the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg, who is also responsible for thefingerings.

Dances for Piano

The Menuett, the Deutscher Tanz, the Kontretanz and the Ecossaise were extraordinarily popular social dances during Beethoven’s lifetime. Thus along with sonatas and variations Beethoven on numerous occasions composed easy-to-play dances and dance collections for solo piano, which are brought together in their entirety for the first time in our volume. Beethoven did not give these occasional pieces an opus number, so today they are numbered only as WoO (Werke ohne Opus, or works without opus). A few dances are piano arrangements of orchestral dances, since piano reductions for home music-making were indispensable at that time. As is to be expected from a substantial Urtextedition, the preface and Critical Notes for this important collection deal with the complex source situation of the individual pieces, along with the question of the authenticity of these piano arrangements.

42 Etudes for Violin

Published in early 1806, Kreutzer’s “40 Études ou Caprices” for Violin – there are 42 today – are the product of his years-long employment at the Conservatoire de Paris and are the most comprehensive collection of studies from his quill. Their systematic and complete reappraisal of essential Violin technique make them an indispensable tool of the trade for every serious student of the Violin (conservatory level). In the intervening two centuries, numerous reprints by various publishers followed the Parisian first edition, frequently adapted by famous soloists and teachers. Just a few years after the first edition, Kreutzer published a completerevision of this standard work in which he exchanged or heavily altered etudes. This second version of the collection forms the basis for our Urtext edition, which nevertheless presents the variants from the early edition as well. The virtuoso and sought-after Violin pedagogue Ingolf Turban acted as a consultant for this edition and furnished it with modern markings so that it provides an ideal foundation for contemporary Violin instruction.

Norwegian Dances op. 35 : for Piano Four-hands

The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. The Norwegian Dances op. 35 of 1880, presented here in an Urtext edition, are arrangements for piano four hands of old folk tunes that Grieg took from a collection published by the musician and researcher Ludvig Mathias Lindeman. For this Henle Urtext edition, all the extant autographs in the Grieg Archive in Bergen, Norway were consulted along with the contemporary first editions. The co-editor here is the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg, who is also responsible for the fingerings.

Sonata no. 2 in g minor op. 117 : Sonata no. 2 in g minor op. 117 for Violoncello and Piano

In contrast to the first cello sonata (HN 1357) composed four years earlier, this substantially more catchy and playful second sonata enjoyed great success with audiences and critics right from the start. Friend and associate Vincent d’Indy wrote to Fauré the day after the premiere in May 1922: I would like to tell you how much I am still charmed by your so beautiful sonata. In it I found what is seemingly forgotten these days: music.” It therefore comes as no surprise that the sonata rapidly found its way into the concert repertoire, where it maintains an uncontested position to this today. The duo David Geringas and Markus Bellheim provided fingerings.