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Kleine Präludien und Fughetten : Little Preludes and Fugues

This edition with over 50 pages contains the universally known selection of easy preludes and little fugues that has proved extremely successful in teaching the piano. Bach’s sons, with Wilhelm Friedemann and Carl Philip Emanuel leading the way, were already able to learn them. If you make your way through these pieces (which gradually become more challenging), you can make great progress on the piano, and what is more these 300-year-old compositions are still able to work their musical magic. Those who are technically more advanced should still occasionally sight read through them- you will then immediately see that they are real gems. Incidentally, all of Bach’s piano works areavailable from Henle both with and without fingerings.

SEK 202.00

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Klassische Klaviersonaten : Classical Piano Sonatas

The idea behind the “Classical Piano Sonatas” of the preclassical and classical eras is to help the pianist find his way more easily within the profusion of literature in this genre, the most important one within the classical piano repertoire. Carl Philipp Emanuel Bach exemplifies the development which then leads to two charming Haydn sonatas and three elegant ones by Mozart (including the famous “Sonate facile” in C major) to the easier piano sonatas of Beethoven and two graceful Haydn sonatas.

SEK 303.00

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Violin Concerto D Op.61 Cadenzas : Cadenzas for the Violin Concerto D major op. 61

Encouraged by Muzio Clementi, the head of a distinguished publishing house in London, Beethoven transformed his Violin Concerto into a Piano Concerto, but retained the cadenzas to the first and third movements for this version. As to the original Violin Concerto, there are no extant cadenzas in Beethoven’s hand. This is why the great violinist Wolfgang Schneiderhan transcribed the cadenzas of the piano version for his own instrument, the violin, thus leaving us, in a way, with an original cadenza for the original version.

SEK 229.00

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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.

SEK 271.00

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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.

SEK 245.00

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Leichte Klaviermusik des 18. und 19. Jahrhunderts : Easy PianoMusic - 18th and 19th Century, Volume II

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, in a way, a colourful spectrum of interesting works ranging clear across the largest variety of eras, Next to the “great” names, one can also make surprising discoveries of less well-known composers. Volume II contains the technically more demanding pieces which lie between difficulty levels 3 and 5.

SEK 261.00

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Valse-Scherzo op. 34

Alongside the famous violin concerto, numerous other violin works by Tchaikovsky have found their way into the standard repertoire for violin. An outstanding example is the Valse-Scherzo, which sparkles with witty playfulness. He composed it in 1877for the violinist Josef Kotek, a close friend and student. Our editor, the Russian Tchaikovsky scholar Alexander Komarov, has ensured that this Henle Urtext edition is absolutely faithful to the sources. He was able to consult all of the sources inthe Russian archives and to bring clarity to the work’s complex genesis. This edition is the prelude to an edition of all of Tchaikovsky’s works for violin and piano, including the Sérénade mélancolique op. 26 and Souvenir d’un lieu cher op. 42

SEK 229.00

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Piano Variations Volume 1 Piano

Variation form occupied Beethoven throughout his composing career. This first volume of G. Henle Publishers’ two-volume edition of all his piano variations includes works from Beethoven’s time in Bonn as well as his early years in Vienna, composed between 1783 and 1799. Beethoven mostly took his themes from arias or songs from stage works that were popular at the time. Besides offering simple figurations around the melodic lines, he also made more radical variations of his chosen material, pointing the way forward to his future “character variations”. The musical text of this Urtext edition has been completely revised on the basis of the critical report of the Beethoven Complete Edition. There is also a detailed preface and commentary.

SEK 342.00

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J. S. Bach: Chaconne From Partita No.2 D Minor (Arr. Ferruccio Busoni)

J. S. Bach 's Chaconne From Partita No.2 D Minor , arranged by Ferruccio Busoni for solo Violin. The final movement in Bach 's Partita , the Chaconne in D Minor has inspired many highly-regarded composers over the years and there are several whom have sought to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni . Without distancing himself too greatly from Bach ’s original, he endeavors to transpose the virtuosity of the String writing onto the Piano. Thus Busoni wrote for the Piano in a way that congenially makes the most of the capabilities of the modern Piano. This Henle Urtext edition not only takes into account the traditional sources but also meticulously analyses a Piano roll in great depth on which Busoni himself can be heard. The fingerings are provided by none other than Marc-André Hamelin.

SEK 218.00

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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

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Samtliche Lieder Band II

Beethoven’s importance as the creator of monumental orchestral works and of substantial chamber music and solo sonatas is so great that his rich song oeuvre is often hardly even noticed. But his Lieder offer a highly entertaining repertoire in which love songs and humorous songs alternate with serious pieces of philosophical or religious subject matter. Goethe, Claudius, Herder, Lessing, Gellert and Rousseau are among the authors whose poems he set. In this way, we are offered a panorama of the waning 18th and incipient 19th centuries with a specific blend of feeling for nature, Enlightenment thought and religious sensibility. This Henle Urtext edition in two volumes, which isbased on the Beethoven Complete Edition, also contains those songs which were rediscovered long after Beethoven’s death and were therefore hardly known for a long time. A detailed preface on the history and source situation of Beethoven’s art songs rounds off this edition.

SEK 457.00

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Quartet movement in D minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

SEK 208.00

1

Quartet Movement in C Minor D 703

Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus! Schubert’s composition of a new string quartet begun in December 1820 was, alas, never to get beyond the first movement the heavily reworked autograph breaks off at the outset of the second movement. But the fragmentary work that later came into the hands of Johannes Brahms from Schubert’s estate, delighted its new owner so much after its premiere in 1867 that Brahms had the first movement published three years later as Schubert’s “Posthumous Work” – thus paving the way into audiences’ hearts for this little gem. Schubert’s autograph manuscript features such numerous divergences in dynamics and articulation that editor Egon Voss suspects it to be one of Schubert’s experiments withvariations. This is why in his Urtext edition he proceeds with extreme restraint in issuing additions and changes with respect to parallel passages ¬– thus making Schubert’s diversity of ideas comprehensible for performing musicians. For all who want a peek inside Schubert’s workshop, the few measures of the second movement are included as a bonus!

SEK 128.00

1

Sechs Partiten BWV 825-830 : Ausgabe ohne Fingersatz

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. For purists, Henle also offers this milestone work in an edition without fingerings.