Piatti's Twelve Caprices, Op. 25, are the daily bread of all advanced players of the cello: Sir Yehudi Menuhin mentioned them in the same breath with the Bach Suites. Now Henle is presenting the very first urtext edition of this opus, with information on sources and alternative readings and with fold-out pages to solve the previously knotty problem of page turns.

The composition 1.X.1905, generally referred to as a sonata, stems from the autumn of 1905, the peak of the riots between the Czech- and German-speaking populations in Janácek's hometown Brno. Reacting to the violent death of a Czech worker, Janácek wrote a three-part composition for piano originally bearing the title From the Street, on October 1, 1905. Dissatisfied with the work, however, Janácek is said to have first burned the third movement in his fireplace and then thrown the remaining two movements into the Vltava, even before its premiere. A copy of these first two movements on which the publication of the first edition was later based is also missing today. For this reason, the Urtext edition of G. Henle Publishers and Universal Edition is based solely on thefirst edition from 1924, which Janácek expert Jirí Zahrádka has carefully evaluated and annotated for this volume.

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.

Paganini's milestone in violin literature is now not only available in a practical Urtext edition (HN 450) but also as a study score. Published in 1820 as his Opus 1, Paganini gave the violin world a timeless masterpiece, which no up-and-coming violin virtuoso can ignore. As well as the musical text, our edition also contains a must for all interested performers: a detailed commentary by the Paganini expert Renato de Barbieri. With numerous examples and illustrations for each of the 24 Capricci from the autograph, he knowledgeably explains the characteristics of Paganini's notation and its significance for its interpretation today.

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 dÉtudes 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 (first edition 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.

Without and with annotations.

Dont, Kreutzer, Rode: three of the most prominent violin pedagogues of the nineteenth century are united here in one volume. At the outset of the nineteenth century, Rodolphe Kreutzer and Pierre Rode each composed epochal collections of studies (see HN 1177 and HN1186); in 1852, as an introduction to these two standard works, Jakob Dont wrote his exceptionally helpful 24 Preparatory Exercises op. 37, which even today no student of the violin can avoid. Their success is also evident from the fact that numerous revised editions were published in the twentieth century by violinists such as Hans Sitt, Carl Flesch, or Ivan Galamian. Now for the first time, G. Henle Publishers' Urtext edition restores access to the unadulterated original with Dont's authentic fingering and bowing suggestions, in an outstandingly legible musical text. The prominent violin pedagogue Paul Roczak acted as a consultant for this edition and carefully supplemented Dont's original marking.

Max Reger, the creator of forbiddingly difficult organ music, could also take a different tack. His Thirty Little Chorale Preludes are intended for semiprofessional organists always on the lookout for good organ chorales for use in Sunday church services. Reger selected the best-known tunes of his day from the Lutheran hymnal. Most of them are still in use today and form excellent additions to modern services. Michael Kube, in a detailed preface, draws a vivid picture of the composer and his superhuman creative powers.

Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from Variations for Piano II (HN 1269). Ian Fountain provided the fingerings.

This edition takes two previously unknown autographs of the 1st and 3rd chorales into account for the first time.

These piano studies, fully worked out in summer 1848, but presumably sketched earlier, were published in the German original editionat the beginning of 1849 simply with the numbering 1-3. In the first French edition published at the end of that year, they were given the new title Trois Caprices poétiques - possibly at the publisher's request - and also received the characteristic individual titles Il lamento, La leggierezz- and Un sospiro, which have remained for these pieces that are still popular today. In comparison with the early studies, in which the purely technical performing aspect is to the fore, the idea of poetic sound is at the heart of these compositions, which were clearly written for concert performance. For this revised version, several newly-discovered or newly-available sources were available, including the autograph which served as the engravers copy.

This edition follows the musical text in the Beethoven Complete Edition (Volume VI/1). With alternate parts for clarinet in B-flat and C, and a performance score for bassoon. The welcome addition to woodwind chamber repertoire has carefully prepared material for clarinet and bassoon. The parts are of equal difficulty and have been edited to help performers with the period style. Both parts explore the full range of the instruments and use varied articulations.--The Instrumentalist

The three popular Intermezzi op. 117 can be seen as the epitome of Brahms' late work for piano. Clara Schumann confessed: In these pieces I at last feel musical life stir once again in my soul. Brahms reacted, as he often did, in a rather brusque manner. Although he sometimes described the three Intermezzi as being Wiegenlieder (lullabies), he formally rejected this title: It should then say, lullaby of an unhappy mother or of a disconsolate bachelor. The new edition of these moderately difficult Intermezzi (level of difficulty 5/6) has now been revised following the musical text of the Brahms Complete Edition, and has fingerings by Andreas Boyde.

The three popular Intermezzi op. 117 can be seen as the epitome of Brahms' late work for piano. Clara Schumann confessed: In these pieces I at last feel musical life stir once again in my soul. Brahms reacted, as he often did, in a rather brusque manner. Although he sometimes described the three Intermezzi as being Wiegenlieder (lullabies), he formally rejected this title: It should then say, lullaby of an unhappy mother or of a disconsolate bachelor. The new edition of these moderately difficult Intermezzi (level of difficulty 5/6) has now been revised following the musical text of the Brahms Complete Edition, and has fingerings by Andreas Boyde.

When the Palais du Trocadéro was built in 1878 on the occasion of the World Exhibition in Paris, the first large concert organ in France was given pride of place in the Salle des Fêtes. Franck wrote his Trois pièces (one of which is the famous Pièce héroïque) for this instrument with its 66 stops. The autograph score contains detailed instructions for the use of the stops. When the work was published five years later, Franck was already organist at the Ste. Clotilde Church and so the indications in the first edition referred to much smaller organs. Our edition makes the most of the opportunity to give both the musical text for the first edition as well as the original registration for the Trocadéro organ. Thus, Franck's ideas for the way this magnificent work was to sound is illuminated in two different ways.

The compositions united here provide a good overview of the diversity of the variation genre in Beethovens early piano works - and present such moderate technical demands that even advanced beginners might try their hand at them. Beethoven found the models for these variations in popular song collections (WoO 64 on a Swiss song), contemporary opera performances (WoO 70 on Nel cor più non mi sento by Giovanni Paisiello), and his own compositions (WoO 77 on a theme from the finale of Piano Sonata op. 22). The revised musical text of the Henle Urtext edition, with its extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from Variations for Piano I/II (HN 1267 and 1269). Ian Fountain provided the fingerings.

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-afterviolin 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.

Some teachers and pianists prefer a clean musical source. Henle has released these new versions of Urtext Editions without fingering to accommodate that. The normal Urtext Editions with fingering also remain available.

Welcome to G. Henle Publishers, dear Maestro Kissin! We are honored and proud to be able to publish the first three opuses by world-renowned, inspired pianist Evgeny Kissin, who for some years now has turned to composing in earnest. The first of these compositions - which, with this author, ought to surprise no one - is a cycle of four piano pieces. The Toccata, an insanely virtuosic tour de force in a jazz-inspired idiom, has already occasionally been heard performed as an encore at his concerts. With their titles, Meditation and Dodecaphonic Tango perfectly illustrate the respective moods of these expressive character pieces. The unpretentious Intermezzo grants performer and audience a brief moment of contemplation before the Toccata.

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today.

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today.

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today. Schumann also created a part for violin.

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today. Schumann also wrote a part for violoncello. I imagine that most cellists are clamoring to buy the recently released Henle edition of Schumann's Adagio and Allegro. It's a welcome and needed addition to the publications available of this two-part composition that captures both the lyricism and fiery drama of Schumann's writing...this new Schumann edition is an important choice for any cellist's music library.--Strings magazine

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today. Schumann also wrote a part for violoncello. I imagine that most cellists are clamoring to buy the recently released Henle edition of Schumann's Adagio and Allegro. It's a welcome and needed addition to the publications available of this two-part composition that captures both the lyricism and fiery drama of Schumann's writing...this new Schumann edition is an important choice for any cellist's music library.--Strings magazine

In 1849, Schumann turned to a new genre: works for piano and an accompanying instrument. The first works he composed were the Fantasy Pieces for piano and clarinet opus 73, immediately followed by opus 70. Schumann drew his publisher's attention to the brilliant allegro, whose solo part is so virtuosic that opus 70 is one of the showpieces for horn players even today. Schumann also created a part for violin.

A genuine discovery! Written at the same time as the Magic Flute, this is Mozart's final piece of chamber music. Anyone lacking a glass harmonica should try it with a piano or a harp (it has even been heard with a marimba!). It's worth the effort and Henle's scholarly-critical urtext material offers a 100% reliable musical text.

A genuine discovery! Written at the same time as the Magic Flute, this is Mozart's final piece of chamber music. Anyone lacking a glass harmonica should try it with a piano or a harp (it has even been heard with a marimba!). It's worth the effort and Henle's scholarly-critical urtext material offers a 100% reliable musical text.

Mozart composed his Adagio in B minor K540 at a time when his financial situation was steadily deteriorating. The war against the Turks was constraining the Viennese people's interest in music - works were not commissioned and concerts did not take place. It was of no matter that Mozart had shortly before (in 1787) been appointed a salaried k.k. Kammer-Kompositeur. Nevertheless in this year he composed several of his most important works: the Coronation Concerto K537, the three late symphonies as well as several piano trios. And he also composed this tender Adagio in B minor with its captivating expressiveness. Our single edition uses the musical text from the revised Edition Piano Pieces (HN 22).

No singer is able to ignore Beethoven's Adelaide. There are thousands of recordings, and many amateurs also love this lyrical setting of Friedrich von Matthisson's poem. Matthisson himself said of it: Several composers have breathed life into this little lyrical fantasy with music; but none of them have, I deeply believe, so put the text into the shade with their melody as the genius Ludwig van Beethoven in Vienna. Henle has published the Lied in a new practical single edition that follows the musical text of the Beethoven Complete Edition, with a detailed preface by the specialist on Beethoven' lieder Helga Lühning.

The origin of this famous concert aria is swathed in mystery. Includes critical commentary which gives detailed information on sources and all aspects of the edition.

The origin of this famous concert aria is swathed in mystery. Includes critical commentary which gives detailed information on sources and all aspects of the edition.

In his Autobiographical Sketch Ravel looks back and stresses the importance of his Miroirs (51480842), published in 1906, for his harmonic evolution. He said that they had disconcerted even those musicians who had been most familiar with my compositional style up to then. This is particularly true of the fourth piece in the collection, Alborada del gracioso (Morning song of the court jester), with its frequent employment of harsh dissonances. This both technically and musically charming genre scene, full of rousing ideas and rhythms, is one of the French composer's best-known piano pieces today. Henle now issues it in a single Urtext edition.

In his Autobiographical Sketch Ravel looks back and stresses the importance of his Miroirs (51480842), published in 1906, for his harmonic evolution. He said that they had disconcerted even those musicians who had been most familiar with my compositional style up to then. This is particularly true of the fourth piece in the collection, Alborada del gracioso (Morning song of the court jester), with its frequent employment of harsh dissonances. This both technically and musically charming genre scene, full of rousing ideas and rhythms, is one of the French composer's best-known piano pieces today. Henle now issues it in a single Urtext edition.

Initially only conceived as a birthday album for his daughter Marie, Schumann's Pieces for Piano op. 68 received tremendous acclaim throughout the world. Is there a piano student who has not played part of them? It is, however, a less well-known fact that Schumann also composed a music historical course of instruction for the piano in this connection. We have included this and other pieces originally intended for the Album in the appendix to our painstakingly revised edition. Rounded off by the inclusion of Ludwig Richter's illustration for the title page of the first edition and the trilingual print of the Advice to Young Musicians, our Urtext edition offers a vivid picture of middle-class musical culture in Schumann's times.

The high opus number suggests that it is a late work, yet in reality the work comprises twenty single movements which were composed 10 to 15 years before publication. This means that they were written around the time of Schumann's early masterpieces such as Carnaval op. 8 or the Romances op. 28 in the 1830s; but they remained unpublished. Following the tremendous success of the Album for the Youth op. 68 in 1848, Schumann's piano music was once again in high demand. The composer therefore published a second selection of works, enabling him to supplement his earnings. Thanks to this, we have a charming collection of easy-to-play pieces, of which the Little Lullaby (no. 6) has become the most famous.

At the beginning of the 1870s, Saint-Saëns displayed a particular partiality for the violoncello. He composed his first cello sonata in December 1872, immediately after having completed the first cello concerto. It was presumably directly after this that he wrote the Allegro appassionato for cello and piano op. 43 that also appeared in a version for orchestra three years later. We do not know why he wrote the work, but it is likely that after having written two weighty works for cello, Saint-Saëns wanted to write something easier that was also suitable as an encore. David Geringas kindly provided the fingering and bowing for the brilliant cello part.

At the beginning of the 1870s, Saint-Saëns displayed a particular partiality for the violoncello. He composed his first cello sonata in December 1872, immediately after having completed the first cello concerto. It was presumably directly after this that he wrote the Allegro appassionato for cello and piano op. 43 that also appeared in a version for orchestra three years later. We do not know why he wrote the work, but it is likely that after having written two weighty works for cello, Saint-Saëns wanted to write something easier that was also suitable as an encore. David Geringas kindly provided the fingering and bowing for the brilliant cello part.

Composed in 1910/11, Bartók's Allegro barbaro is one of his best-known and most popular works for piano. The composer himself enjoyed performing it in concerts, and recorded it several times. The recording from 1929, which he referred to as the authentic recording, contains very interesting divergences from the printed version as far as articulation, tempo and even the number of ostinato measures. For the first time, these have been included in the musical text of Henle's Urtext edition, and also annotated. With this first Bartók Urtext edition, László Somfai gives an insight into the many and varied musical impulses awaiting us in the Béla Bartók Complete Critical Edition, which will be jointly published by Editio Musica Budapest and G. Henle Publishers in 2016.

Composed in 1910/11, Bartók's Allegro barbaro is one of his best-known and most popular works for piano. The composer himself enjoyed performing it in concerts, and recorded it several times. The recording from 1929, which he referred to as the authentic recording, contains very interesting divergences from the printed version as far as articulation, tempo and even the number of ostinato measures. For the first time, these have been included in the musical text of Henle's Urtext edition, and also annotated. With this first Bartók Urtext edition, László Somfai gives an insight into the many and varied musical impulses awaiting us in the Béla Bartók Complete Critical Edition, which will be jointly published by Editio Musica Budapest and G. Henle Publishers in 2016.

Everywhere only confused combinations of figures, dissonances, passages - in short, for us torture. - Schumann certainly did not deserve this contemporary slating. He only published the opening movement Allegro di bravura of what was originally meant to be a sonata - the other parts were apparently destroyed. Clara, who was otherwise rather reserved as far as Schumann's early works were concerned, soon incorporated this piece into her repertoire. Ernestine von Fricken, the dedicatee and with whom Schumann was still engaged at its time of composition, often played it after their separateion, even if with quite curious expression. Our edition is the result of a thorough revision to incorporate the latest scholarly findings.

This Henle edition is full of mistakes! The publisher can freely admitt this, because the odd notes here all come from Mozart himself - he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title Village Musicians was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today's performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin.

This Henle edition is full of mistakes! The publisher can freely admitt this, because the odd notes here all come from Mozart himself - he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title Village Musicians was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today's performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin.

This Henle edition is full of mistakes! The publisher can freely admitt this, because the odd notes here all come from Mozart himself - he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title Village Musicians was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today's performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin.

This Henle edition is full of mistakes! The publisher can freely admitt this, because the odd notes here all come from Mozart himself - he consciously inserted them into his Musical Joke. In this amusing and mischievous piece, Mozart does not chiefly parody musicians who play wrong notes (the later title Village Musicians was not his). Rather, in this chamber music joke he aims an angry side-swipe at dilettante composer-colleagues of his time, whose lack of imagination and artless compositional technique are here mercilessly demonstrated. A musical and intellectual delight for today's performers and audiences alike, now performable for the first time using a genuine Urtext quality edition based on the autograph in Berlin.