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Isaac Albéniz: Asturias

Albéniz? piano music is truly irresistible, in particular because of its dance-like elements and its Spanish atmosphere. Asturias combines these elements in a most sophisticated manner. It first appeared in 1892 as the Prélude to the Chants d?Espagne (HN782), and again in 1901, this time with the title Asturias in the Suite Espagnole (HN783), and the piece soon became one of the composer?s best-loved works. Who isn?t familiar with the mysterious guitar sounds that conjure up a Flamenco scene in Andalusia? The piece has often been arranged, but we are publishing it in the original Urtext version for solo piano ? in an affordable single edition.

SEK 128.00

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Johann Sebastian Bach: Toccatas BWV 910-916

Bach most likely composed his Toccatas in his early creative years, between 1707 and 1713, they can be seen as the products of Bach‘s own “Sturm und Drang” period, and were not planned as an interconnected work cycle, but as autonomous works written at different times. As was customary for this genre, the toccatas emphasize virtuoso and improvisatory elements, and, occasionally, the recitative aspect as well. What is indispensable is Bach’s mastery of the polyphonic technique, the rich harmonies, and the inexhaustible wealth of his inventiveness.

SEK 515.00

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Albeniz Iberia Second Book

The first book of Albéniz’ four-part cycle “Iberia” has already been published in an acclaimed Henle Urtext edition and many pianists are now eagerly awaiting the remaining ones. The second book in this collection of melodious portraits of Spanish places is now available. In “Rondeña”, “Almería” and “Triana” Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music, although he hardly ever directly cites the latter, but rather reinvents it in an authentic manner. The rhythmic and colourful effects will delight both players and listeners.

SEK 367.00

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Franz Liszt: Rhapsodie Espagnole (Henle Urtext Edition)

A six-month tour through Spain and Portugal left its mark… Fascinated by the temperamental melodies of the Iberian Peninsula, Liszt integrated elements of this music into his Piano works. The character of the “ Rhapsodie Espagnole ” is very different to that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy, one encounters Spanish noblesse and elegance. At the centre are the age-old theme “Folies d’Espagne” and a much loved folkdance melody from Aragon (“Jota”); both of which Liszt worked into a dazzling virtuosic series of variations. Our Urtext edition contains a well-informed preface by the Liszt researcher Mária Eckhardt.

SEK 177.00

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Isaac Albéniz: Iberia - Third Book

Since their publication as Urtext editions, the first two volumes of ?Iberia? issued by G. Henle Publishers have become an established part of the pianists? world. Now comes the third book, in which Albéniz once again fuses his knowledge of European classical music with elements of Spanish folk music. In ?El Albaicín? he evokes the mysterious atmosphere of the gypsy quarter in Granada, followed by hints of temperamental Flamenco in ?El Polo?. At the end, Albéniz depicts the exuberant mood of a former Jewish quarter in Madrid (?Lavapiés?); in so doing he intersperses the music with some dissonant dashes of colour, an allusion to an organ grinder.

SEK 330.00

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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.

SEK 218.00

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Felix Mendelssohn: Sonata for Piano and Violoncello D major op. 58

The Romantic composer Felix Mendelssohn-Bartholdy (1809-1847) has been highly regarded in Britain from the time of his first visit in 1829. He was a favourite of Queen Victoria, and also made several trips to Scotland, inspiring some of his best-known and most evocative works. Mendelssohn’s Cello Sonata No.2 in D Major (Op. 58) was composed in 1843 for Cello and Piano. It is scored in four movements: Allegro Assai Vivace - Allegretto Scherzando - Adagio - Molto Allegro E Vivace . It is heavily influenced by Bach, borrowing elements of both structure and melody from some of Bach’s works. This Urtext edition is published by Henle Verlag.

SEK 330.00

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Pyotr Ilyich Tschaikovsky: Chanson Triste Op.40 No.2 (Urtext)

In Western Europe and soon thereafter in America, Peter Tchaikovsky became perhaps the best-known, most fêted of all Russian composers. In his extensive piano oeuvre, he provided a significant contribution to the sophisticated salon music of the Romantic period. The sweetly wistful “Chanson triste” from the “Twelve Pieces of Moderate Difficulty” op. 40 from 1878 is of such cantabile character that it could be described as a song without words. As the most popular and most important piece from op. 40, it is presented here in a separate edition. With its very moderate level of difficulty, the piece is suitable for use in lessons already at an early stage.

SEK 107.00

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J.S. Bach: Sinfonias BWV 787-801

Johann Sebastian Bach was not only an extremely skilled composer, but also an ingenious teacher. Even today, many Piano students learn the basics of technique with his “Inventions” and “ Sinfonias ” and at the same time the most important elements of classical music. Bach called the 15 two-part pieces “Inventions” and the three-part ones “ Sinfonias ”. He wrote a preface to the musical text, dedicating it to “amateurs of the Piano, but in particular to those who desire to learn”. Bach ’s preface and a table with the most common ornaments in the “Clavierbüchlein für Wilhelm Friedemann Bach” are also reproduced in the Henle edition. The complete collection of inventions and sinfonias (HN 64) is also available.

SEK 165.00

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Franz Liszt: Valse Oubliée No. 1

In summer 1881 Franz Liszt composed a work that he called “ Valse Oubliée ” (Forgotten waltz) in a letter to his publisher. The work is reminiscent of the appealing Piano waltzes that the composer used to write when he was younger – although there is a certain distance to the usual waltz style. Liszt by no means renounces virtuosity and elegance, but rather infuses these characteristics with nostalgia and irony by embedding typical melodic and rhythmic elements of salon waltzes in innovative, harmonically alienating progressions. In the years that followed he wrote three further “ Valses Oubliées ”, yet number 1, published here in a single edition, has remained the best-loved of these “Forgotten waltzes” by far.

SEK 107.00

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Erik Satie: Gnossiennes (Urtext Edition)

Like the "Gymnopédies", the "Gnossiennes" also allude to ancient Greek traditions. Perhaps inspired by the World Exhibition in Paris in 1889, Satie made use of oriental ornamentation. With his subtle intuition for musical tendencies that were "en vogue", he combined exotic elements with influences from cabaret music and, of course, his own ideas to create something very new. Several of the "Gnossiennes" take one by surprise on account of puzzling fragments of text between the lines of music. According to Satie they were not supposed to be read aloud but to create a secret link between composer and player - a creative challenge, which we are passing on to present-day musicians in our Urtext edition.?

SEK 155.00

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Wolfgang Amadeus Mozart: "Wunderkind" Sonatas Volume 1 K.6-9

At the time, Mozart?s genius ? recognised at an early age ? could only be explained as being God-given. Wolfgang Amadeus and his sister Maria Anna, older by five years, were admired as being "Wunderkinder" (prodigies) on their travels through Western Europe between 1763 and 1766. The piano sonatas ?with a violin accompaniment? K. 6?9 were composed in Paris. It is wonderfully fresh and varied music. The piano is joined by a violin that adds colour, but not as an equal partner unlike in the later, great violin sonatas (see HN 77?80). This music is not only ideally suitable for piano and violin teaching purposes but will also allow musicians who already know ?everything? to discover some treasures.With marked and unmarked string parts

SEK 351.00

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Béla Bartók: Allegro Barbaro

One of Béla Bartók 's best-known and most popular works for Piano, the Allegro Barbaro was composed in 1910-11. Bartók himself enjoyed performing the piece in concerts and recorded it several times. A recording from 1929, referred to by Bartók as the “authentic recording”, contains very interesting departures from the printed version as far as tempo, articulation and even the number of ostinato measures are concerned. These elements have been included in the musical text for the first time in this Henle Urtext edition and are clearly annotated. With this first Bartók Urtext edition, editor László Somfai offers an insight into the many and varied musical impulses that will be demonstrated in the Béla Bartók Complete Critical Edition, which will be jointly published by Editio Musica Budapest and G. Henle from 2016.

SEK 160.00

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Felix Mendelssohn Bartholdy: Piano Trios

After an early work and a discontinued attempt in 1831/32 Mendelssohn made his breakthrough in this important chamber music genre in the summer of 1839 with the Piano Trio in d minor op. 49, which was to be followed six years later by the Trio in c minor op. 66. On publication of the first trio, Schumann took the opportunity to describe the composer as the “Mozart of the 19th century”, whereby he was obviously alluding to the mixture of Classical and Romantic stylistic elements. The musical text of these two famous Trios has been thoroughly revised to reflect the latest scholarly findings. In addition HN 1297 also includes a Flute part for the alternative version of op. 49 (Flute instead of Violin) that Mendelssohn himself made.

SEK 621.00

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Bartok: Suite Op 14 Piano

The four-movement Suite op. 14 was composed in 1916 and was one of Bartók’s favourite piano works throughout his life. Unlike in his other works for piano of these years, he did not use any folksong melodies or folkloristic elements here. Instead, he endeavoured to achieve a new, more “abstract”, transparent piano style that forgoes ornament and embellishment. A special feature of this Henle edition is the appendix with an additional Andante movement that was originally intended to come before the Scherzo, but which Bartók removed from the Suite only shortly before its publication in 1918. The Urtext edition of this important work in the concert repertoire follows the musical text of the Bartók Complete Edition. It has been edited by perhaps the most distinguished Bartók scholar in the world today, László Somfai, who has also written the comprehensive introduction to the work, and who offers helpful suggestions regarding its interpretation.

SEK 192.00

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