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Kleine frühe Sonaten : Little early Sonatas

Kleine frühe Sonaten : Little early Sonatas

The piano sonatas in this volume were presumably written for teaching purposes and probably even before Haydn’s appointment to the court of Prince Esterházy in 1761. The designation “Little early Sonatas” does not stem from Haydn, but rather from the editor of this Urtext edition, the doyen of Haydn philology Georg Feder, who gathered together these short works, which were written for “aficionados”, into a group of sonatas. G. Henle Publishers is now issuing these charming compositions, which are particularly suitable for piano instruction, in a revised edition. It contains not only commentary texts reflecting the current state of research, but also new, inspiring fingerings by nine well-known pianists.

SEK 213.00
1

Kleine Präludien und Fughetten : Little Preludes and Fugues

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
1

Lieder von der Mur-Insel : Songs from the Mur-Island, Little Pieces for Piano

Lieder von der Mur-Insel : Songs from the Mur-Island, Little Pieces for Piano

The Serbian composer, conductor and university lecturer Marko Taj evi , who died in 1984, was one of the leading personalities in Yugoslavian musical life after 1945. His works are typically conceived for piano, and many inspired by the folk music of his nation. This also includes the 13 pieces of this volume, which skillfully transpose the traditional songs from the region between the rivers Drau and Mur in northern Croatia, and transform them into delightful little pieces.

SEK 208.00
1

Wolfgang Amadeus Mozart: Klaviersonate C-Dur KV. 545

Wolfgang Amadeus Mozart: Klaviersonate C-Dur KV. 545

Who doesn’t know Mozart’s “Sonata facile” of 1788? Yet those who practice this extremely popular piano sonata in C major will realize that it is by no means so “easy” to play. Its nickname does not come from Mozart, but from the title page of the first edition, which was printed only posthumously. No cause for premature celebration, however: in his own autograph catalogue of works, Mozart himself identified it as “a little piano sonata for beginners.”

SEK 96.00
1

Divertimento In G Major Hob. II

Divertimento In G Major Hob. II

Haydn’s numerous divertimentos for strings and wind are cheerful, functional music about whose genesis we know very little. Many stem from Haydn’s early years, when the composer had to keep his head above water with musical odd jobs. Thus the Divertimento in G major Hob. II:9, for the unusual scoring of two oboes, two horns, two violins, two violas and bass, was quite possibly commissioned in the 1750s. In its exuberant vitality, Haydn’s genius is already unmistakable here.

SEK 239.00
1

Concerto in B Minor Op. 35 for Violin and Piano

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.

SEK 155.00
1

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

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.

SEK 155.00
1

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

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
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

Three Movements For Piano Trio : Fragments K. 442

Three Movements For Piano Trio : Fragments K. 442

Mozart often began work on a composition only to put it aside, unfinished. Some of these fragments contain wonderful music, as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements, though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer, and on this basis they were given the number “442” in Köchel’s catalogue. The first edition used completions by Mozart’s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed, highly rewarding completions by Robert D. Levin.

SEK 441.00
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

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

Nine Songs Opus 5 : On Poems by Boris Sandler

Nine Songs Opus 5 : On Poems by Boris Sandler

A new work by cult pianist and composer Evgeny Kissin! These nine Yiddish poems were penned by his friend, the author and lyricist Boris Sandler (*1950). Kissin follows in his very folksong-like settings, which are easy for amateur music-lovers to sing and play, the prevailing mood of each poem, the titles of which - such as “Sternlein mit Mandeln” (Little stars with almonds), “Wenn der Kopf kein Topf ist” (When the head isn’t a pot), “Moschl-Kaposchl”, “Was weiss ich” (What do I know) - promise a subtle, cryptic and also entirely profound humour. This Henle edition presents the Yiddish song texts not only in Hebrew letters, but also transliterated into Latin characters, with an appendix additionally offering German and English prose translations of the poems.

SEK 335.00
1

W. A. Mozart: Piano Pieces From The 'Nannerl Music Book'

W. A. Mozart: Piano Pieces From The 'Nannerl Music Book'

Piano Pieces From The 'Nannerl Music Book' contains 17 pieces composed by Wolfgang Amadeus Mozart when he was between five and eight years old. When W. A. Mozart 's sister Maria Anna Mozart, known as Nannerl, started receiving Piano lessons, her father gave her a music book in which he and others gradually wrote down little recital pieces. This book was soon passed on to her brother and, noticing his remarkable talent for composing, the children's father wrote down some of his son's first works in the book. This Henle Urtext edition is taken from the complete volume of Mozart’s Piano Pieces (HN22) and contains a new preface by the editor Ullrich Scheideler. The pieces in this volume are easy to play, making them ideal for beginners.

SEK 165.00
1

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

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.

SEK 234.00
1

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

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.

SEK 330.00
1

Two Easy Piano Sonatas : Nos. 19 And 20 Op. 49

Two Easy Piano Sonatas : Nos. 19 And 20 Op. 49

The two piano sonatas op. 49, described in their first publication as Sonates faciles, are often the first-ever Beethoven sonatas with which advanced piano pupils can demonstrate their ability. Their relatively high opus number ismisleading, however, for both these two-movement works were composed at roughly the same time as the piano sonatas op. 10, between 1796 and 1798. The fact that they were actually published seven years later is presumably thanks tothe business dealings of Beethoven's brother Carl, who initially offered them to several publishers without success. Finally, in 1805, a Viennese publisher relented and accepted them not yet aware of the treasures that had falleninto his lap. These little masterpieces, cast in an easily manageable format, soon became highly popular. This Henle Urtext edition continues our successful revised series of Beethoven's sonatas under the auspices of MurrayPerahia and Norbert Gertsch.

SEK 128.00
1

Kinderszenen op. 15

Kinderszenen op. 15

“As far as the Scenes from Childhood are concerned, I owe them one of the liveliest pleasures of my life.” These words were uttered by none other than Franz Liszt. In the evenings he often enjoyed playing part of them, not only for his little daughter Blandine-Rachel but also for his own pleasure. Even today, the “Scenes from Childhood” still raise the question as to whether they were written for children or adults. Schumann himself described them as being the reminiscences of an older person for older people, but did not deny that “several children’s heads were in his mind when composing them”. Ernst Herttrich has revised our well-loved edition, incorporating the latestscholarly findings. In the appendix he also takes a stand on the metronome markings which were taken over from an early print.

SEK 128.00
1

Quartet movement in D minor D 703

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

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

Acht Gedichte Opus 10 für Singstimme und Klavier : Originaltonarten für hohe Stimme

Acht Gedichte Opus 10 für Singstimme und Klavier : Originaltonarten für hohe Stimme

Written in 1885, the eight songs after texts by the now little-known poet Hermann von Gilm have a special place in Richard Strauss’ corpus of Lieder. For the first time, he composed an entire set of songs on texts by a single poet, collecting them into one opus that was also to appear in print. Some of the numbers in it, like “Zueignung,” “Die Nacht,” and “Allerseelen,” are among the most popular Strauss songs of all time, but the entire cycle with its well-planned structure is also worthy of closer examination and performance. The aspiring composer quite consciously aligns himself with the tradition ranging from Schubert to Wolf, choosing the highly Romantic subject of unrequited love and illuminating its most diverse facets. The primary source for the Henle Urtext edition is the first edition from 1887, which Strauss furnished with a dedication to the Royal Bavarian chamber singer Heinrich Vogl - a serious invitation to today’s male singers not to leave these wonderful Strauss songs solely to female singers!

SEK 245.00
1