Frédéric Chopin spent his fifth summer at George Sand's country estate in Nohant in 1844. The time away from Paris gave the composer the necessary creative free space to produce the delicate Berceuse (lullaby) as well as the b-minor sonata that year. The former is known for its dreamy, exquisite ambient sound - and yet it still numbers amongst Chopin's most fabricated works. It was originally intended to have the somewhat sober title Variantes: a sketch shows how Chopin conceived these Variantes. The genesis and source situation are explored in our revised edition that reflects the latest scholarly findings. A classic with a new look in the Henle catalog!

This Urtext edition is the first edition to make use of the autograph sketches of the original version for violin, as well as of the manuscript of Fauré's own orchestration.

Our series of revised Schumann editions continues with this delicately wrought set of variations. Opus 18 and 19 are frail things for ladies: thus, with a wink of the eye, Schumann alluded to his wish to become the favourite composer of every woman in Vienna. In fact, at this time he was having trouble making headway in Vienna at all, and his dream of settling there with Clara was fading fast. The work takes its distinctive lyrical flavor from the fact that he may have wanted to accommodate the lighter Viennese taste.

The names of the composers included here read like a Who is Who of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda, J. Stamitz, J. L. Dussek and J. B. Vanhal, in their time names that were known throughout Europe, and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn, Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colorful bouquet of worthwhile discoveries.

The names of the composers included here read like a Who is Who of the heyday of Bohemian musicians and composers from the 18th and beginning of the 19th century. They include F. Benda, J. Stamitz, J. L. Dussek and J. B. Vanhal, in their time names that were known throughout Europe, and who predominantly worked at noteworthy courts in different countries. Today their music is largely overshadowed by that of Haydn, Mozart and Beethoven. Yet the Bohemians particularly excelled as far as the violin sonata was concerned. Our two volume edition will provide the curious (and indeed already quite advanced) violinist with a colorful bouquet of worthwhile discoveries.

Composed in 1891, Chabrier's Bourrée fantasque was the culmination of his piano works. This is the first critical edition to make use of all available sources.

Composed in 1891, Chabrier's Bourrée fantasque was the culmination of his piano works. This is the first critical edition to make use of all available sources.

Each volume in the At the Piano series includes original pieces by one composer. The works are arranged in progressive order of difficulty and complement one another conceptually. Each piece ranges from one to eight pages. All volumes contain fingering and practical tips on technique and interpretation. The At the Piano series is an ideal introduction to the world of classical piano music and is particularly suitable for piano students and for all those who are returning to the piano after a long break. The series is edited by Sylvia Hewig-Tröscher, a piano professor at the Hochschule für Musik und Theater in Munich. She has decades of experience teaching young people and adults, gives concerts and masterclasses around the world, and is a much sought-after educator. Brahm's music does not have to be difficult or melancholy - our selection here proves it. Even less advanced pianists will find playable, immediately appealing pieces amongst his works for piano. His delicate intermezzi are dreamy and soulful in mood, while our selection of his waltzes (which Brahms himself published again in simplified versions) shows his cheerful, Austrian side. Contents: Waltz in E Major, Op. 39, No. 5 · Waltz in B-flat Major, Op. 39, No. 8 · Waltz in D minor, Op. 39, No. 9 · Waltz in G Major, Op. 39, No. 10 · Waltz in B minor, Op. 39, No. 11 · Waltz in A Major, Op. 39, No. 15 · Intermezzo in E Major, Op. 116, No. 6 · Intermezzo in A minor, Op. 76, No. 7 · Intermezzo in B-flat Major, Op. 76, No. 4 · Intermezzo in E-flat Major, Op. 117, No. 1 · Ballad in D minor, Op. 10, No. 1 · Rhapsody in G minor, Op. 79, No. 2 · Romance in F Major, Op. 118, No. 5 · Intermezzo in C Major, Op. 119, No. 3 · Ballad in G minor, Op. 118, No. 3

Contains all of Beethoven's surviving cadenzas and lead-ins for piano concertos: both for his own concertos nos. 1-4, for his piano arrangement of the Violin Concerto opus 61 as well as for Mozart's Concerto in D minor K. 466. Based on the musical text of the Beethoven Complete Edition.

Contains all of Beethoven's surviving cadenzas and lead-ins for piano concertos: both for his own concertos nos. 1-4, for his piano arrangement of the Violin Concerto opus 61 as well as for Mozart's Concerto in D minor K. 466. Based on the musical text of the Beethoven Complete Edition.

Transcription to W. Schneiderhan after Beethoven's original cadenzas to the piano version of the Concerto.

Pachelbel's most popular work, the canon with ensuing gigue in D Major, might have been composed during his time in Thuringia between 1677 and 1695. Now available in Henle Urtext.

Pachelbel's most popular work, the canon with ensuing gigue in D Major, might have been composed during his time in Thuringia between 1677 and 1695. Now available in Henle Urtext.

Pachelbel's most popular work, the canon with ensuing gigue in D Major, might have been composed during his time in Thuringia between 1677 and 1695. Now available in Henle Urtext.

Pachelbel's most popular work, the canon with ensuing gigue in D Major, might have been composed during his time in Thuringia between 1677 and 1695. Now available in Henle Urtext.

Pachelbel's most popular work, the canon with ensuing gigue in D Major, might have been composed during his time in Thuringia between 1677 and 1695. Now available in Henle Urtext.

Today, Beethoven's cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer's lifetime - not until a century laterdid Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata The Glorious Moment, writtenfor a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public - and with its hymn I Am Europe, No More a City by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholarErnst Herttrich - perhaps an opportunity to discover unknown Beethoven as well!

On hearing Joseph Anton Steffan's (1726-1797) numerous songs or piano works, he can immediately be identified as an original precursor of Romanticism. His harmonically refined Capricci - whose tempi and meter often change - are particularly attractive, although to date they have lain around in archives in manuscript form. We have dug up these treasures and are offering a first edition of the five Capricci with excellent Henle engraving and with a short introductory preface.

Brahms mainly composed the eight Piano Pieces op. 76 in summer 1878 in the summer resort of Pörtschach at Lake Wörth. Theodor Billroth, a close friend, was enthusiastic about the new works: These are magnificent pieces, beautiful and interesting to play. They lie so well under the hand for those who are a little used to Schumann's and Chopin's technique that it is a pleasure to practise them. As the volume Piano Pieces was published in 2011 as part of the Johannes Brahms Complete Edition (HN 6014), Henle is now replacing the previous volume HN 118 with this new one, presenting thesemagnificent piecesin the musical text of the Complete Edition, accompanied by revealing commentaries detailing their genesis and publication.

Fingering by Hans-Martin Theopold.

Fingering by Hans-Martin Theopold.

The 19th century was a heyday for arrangements of all kinds. So it was natural that the composer and violin virtuoso Sarasate shouldturn to this genre to expand his repertoire. He composed numerous fantasies on successful operas of the time, but pride of place undoubtedly belongs to his Carmen Fantasy. For this arrangement, composed in 1881, Sarasate deliberately chose those numbers that most clearly convey the Spanish atmosphere of the opera. Besides a version for violin and piano, Sarasate also wrote one with orchestral accompaniment. Both have since then delighted audiences and critics alike. This Henle Urtext edition is the first-ever critical edition of the work, and takes the sources for both versions into account. The solo part has been annotated by Augustin Hadelich.

Schumann's turbulent love-affair with the barely eighteen-year-old Ernestine von Fricken, though strong enough to lead to a secret engagement, lasted only a few months. Nevertheless, it managed to give rise to one of his most frequently played compositions: Carnaval. Some of these twenty-one character pieces are named after figures from the commedia dell'arte, others after such fictitious creations as Florestan and Eusebius, in which Schumann acknowledges his own split personality. The mysterious way that these figures relate to specific people in Schumann's surroundings - and the deeper significance of the recurring motifs Ab-C-B and A-Eb-C-B - are explained in the editor's detailed commentary in this revised new edition.

Like many other nineteenth-century musicians, Robert Schumann wanted to settle down in the musical capital of Vienna. Though these plans came to naught, his stay in Vienna in 1839 gave rise to an entire series of valuable works for the piano, including the famous Faschingsschwank aus Wien (Carnival of Vienna). Schumann himself called the opus a romantic spectacle, and it met with a decidedly warm response from the critics: Flashes of humor appear at every turn; skyrockets of wit and unbridled merriment soar upwards into the skies from all sides. The first public performance had to wait until 1860, after Schumann's death, when his widow Clara presented Faschingsschwank to a Viennese audience. It was not least through this performance that Schumann's music found a home on the River Danube. The brilliant work has rightly remained in the standard repertoire to the present day.

Composed in 1915, Cavatine displays the trombone's lyrical, romantic side. This Urtext edition is the first to take the Paris autograph into account.

Without a doubt, Dvorák's melodious cello concerto numbers among the most popular of its kind. It is hard to imagine that the Musical Times harboured little hope that it would remain in the repertoire after the London premiere! Written in the winter of 1894/95 while the composer was still in America, the work underwent several revisions, particularly in the solo part, in the spring and summer of 1895 following Dvorák's return to Bohemia. His cellist friend Hanus Wihan provided expert support, even making his ownentries in Dvoráks autograph manuscript. The vast number of small and larger revisions ultimately led to some confusion during print setting, resulting in Simrock's 1896 first edition of the score, piano reduction, and solo parts displaying numerous inconsistencies. These were carefully examined for this Henle Urtext edition while referring back to the autograph sources and an early copy of the solo part. Thus, not only the substantiated Urtext solo part, but also the piano reduction prepared by Johannes Umbreit now offer an optimal working basis for allmusicians.

Originally, Lalo was meant to follow an officer's career but his musical talent soon became apparent and so he decided to become a musician. Every cellist is familiar with his Cello Concerto in d minor which is just as spirited as his Symphonie espagnole. Many renowned virtuosi, from Julius Klengel to Leonard Rose, have published their own editions of the concerto. Our Urtext edition distances itself from all of the additions made by other editors, but it offers both an unmarked part and one with fingerings and bowings by the famous cellist Heinrich Schiff. Parallel to our piano reduction, Breitkopf & Härtell are publishing a score, pocket score and orchestral material.

Of Beethoven's five cello sonatas, the Grande Sonate op. 69, published in 1809, is not only the centrepiece, but also musically the most significant. The artful coupling of the two instruments is on display from the outset in an almost programmatic manner, when the cello with its tenor timbre first intones a melody that the piano then continues. In this sonata, too, Beethoven dispenses with a slow movement while nevertheless compensating us with an enchanting Adagio cantabile introduction to the finale. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of thesonata. Ian Fountain and David Geringas provide the fingerings.

Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethoven's late style. One reviewerof the original edition noted in 1818 that they doubtless number among the most unusual and peculiar things written in a long while.Proceeding from the established Classical schema, here Beethoven explores possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello uvre. In the Sonata in C-major, unusual elements emerge in the very structure: two fast movements, each preceded by short introductions at a slow tempo - an idiosyncratic, unique formal construction. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of thesonata. Ian Fountain and David Geringas provide the fingerings.

Written in 1815, the two Sonatas op. 102 mark the transition to the often austere sonorities of Beethovens late style. One reviewerof the original edition noted in 1818 that they doubtless number among the most unusual and peculiar things written in a long while. Proceeding from the established Classical schema, here Beethoven sounds out possibilities for changing and expanding sonata form, which make Opus 102 the capstone of his cello ouvre. The Sonata in D-major reflects Beethoven's preoccupation with traditionalcounterpoint; if in the opening movement his ingenious combination of extremely different themes elicits admiration, then in the Allegro fugato section of the finale we witness how he conjures from one simple theme the highest contrapuntal art. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of thesonata. Ian Fountain and David Geringas provide the fingerings.

The two Sonatas op. 5 were written in 1796 expressly for the young Beethovens performance with the cello virtuoso Jean Louis Duportat the Berlin court. That he wasn't eclipsed by the latter was ensured by the extremely scintillating piano part, with which Beethoven the pianist was able to present himself in the best light. Opening with a slow introduction, the Allegro of the F-major sonata dazzles with its abundance of melodies. The following Rondo weds musical wit with playfulness, guaranteeing the sonata's special popularity to this day. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

Brahms' cello sonatas are probably amongst the most beautiful that have ever been written for this instrument. The publication of the two works in the new Brahms Complete Edition has prompted a new Urtext edition of the Sonata in F major: This classic work has now been newly engraved and reflects current scholarly findings.

The two Sonatas op. 5 were written in 1796 expressly for the young Beethoven's performance with the cello virtuoso Jean Louis Duport at the Berlin court. That he wasn't eclipsed by the latter was ensured by the extremely scintillating piano part, with which Beethoven the pianist was able to present himself in the best light. In both sonatas, two fast movements are preceded by a slow introduction that, in the case of the Sonata in g-minor, almost grows into a movement unto itself with its six-minute length. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thus features a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for cello and piano in early 1917, thus realizing a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré's complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first critical edition of this work. David Geringas, a master of his craft, supplied the markings in the cello part.

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.

This single-movement sonata for cello and piano, Evgeny Kissin's Opus 2, evokes a sombre, melancholic ballad. The approximately ten-minute work from 2016 places high demands on both instrumentalists in its execution. Having rehearsed the sonata in close consultation with the composer and performed it, Steven Isserlis contributes fingerings and bowings in an additional cello part. A marvellous addition to the cello repertoire!

A short while ago Henle issued Mendelssohn's second Violoncello Sonata, op. 58. Now the first Sonata, op. 45, is available for the first time as Urtext edition with a flawless music text. A preface and critical commentary provide detailed information on this major contribution to the romantic violoncello repertoire.

This revised edition of Beethoven's five sonatas incorporates the findings contained in the critical report of the Beethoven Complete Edition.

The D-minor Chaconne is undoubtedly the most famous movement of all of Bach's 6 Sonatas and Partitas for violin solo. So it is hardly surprising that it has seen many arrangements. Johannes Brahms marvelled at how a single staff of music could offer a whole world of the deepest thoughts and the mightiest emotions. He promptly made his own arrangement; it is for left hand alone, in orderto come close to the restrictive framework of the original. He wrote enthusiastically: A similar degree of difficulty, the manner of technique, the arpeggios - everything comes together to make me feel like a violinist! This Henle Urtext edition by Valerie Woodring-Goertzen is based on the text of the new Brahms Complete Edition. In her foreword she also offers fascinating details aboutthe compositional history of this unusual work.

Who isn't familiar with Johann Sebastian Bach's Chaconne, the final movement in his Partita in D minor for violin solo? Time and again composers have been inspired to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferrucio Busoni. Without distancing himself too greatly from Bach's original, he endeavours 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. Our 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 were provided by none other than Marc-André Hamelin.

The D-minor Chaconne is undoubtedly the most famous movement of all of Bach's 6 Sonatas and Partitas for violin solo. So it is hardly surprising that it has seen many arrangements. Johannes Brahms marvelled at how a single staff of music could offer a whole world of the deepest thoughts and the mightiest emotions. He promptly made his own arrangement; it is for left hand alone, in orderto come close to the restrictive framework of the original. He wrote enthusiastically: A similar degree of difficulty, the manner of technique, the arpeggios - everything comes together to make me feel like a violinist! This Henle Urtext edition by Valerie Woodring-Goertzen is based on the text of the new Brahms Complete Edition. In her foreword she also offers fascinating details aboutthe compositional history of this unusual work.

Aside from the Quintet K. 452, all of the titles in this collection are being published for the first time as study editions in Henle Urtext. The volume Works for Piano and Violin, which comprises over 400 pages, not only contains the sonatas but also the variations. The piano trios were extensively revised by the editor of the part edition especially for this study edition.

Like Elgar's Salut'damour, the two chansons are amongst his most popular melodies. The dreamy Chanson de nuit and its cheerful counterpart Chanson de matin are often performed together. With this in mind, it is almost surprising that Elgar had in fact completed the Chanson de nuit in October 1897 as a separate piece and shortly afterwards offered it to his publisher Novello. He only submitted the Chanson de matin eighteen months later, telling Novello on this occasion: I see from my sketch (which I found last week & have since completed) that this piece was intended to be a companion to the one you have already. Two evergreens of theviolin repertoire, with moderate technical demands, prepared using the first editions, and with fingering by the British violinist and Elgar scholar Rupert Marshall-Luck.

Isn't that ...? Guitarists will prick up their ears at the first tones of this colorful piano suite by the Catalan Albéniz. In actual fact, its first movement, arranged for guitar under the title Asturias, has become world famous. It is hardly surprising that almost all of Albéniz's piano works have been transcribed for guitar and have, in this form, frequently become more famous than the originals. Albéniz brilliantly combines elements of the folk idioms of his native land with a virtuoso brilliance interwoven with impressionistic undertones. A musical text of Urtext standard is now available to all pianists for the first time.