This Little Suite was published in 1908 and was dedicated to the composer's then three-year old daughter: To my beloved little Chouchou with the tender excuses of her father for what follows below. The first movement, Doctor Gradus ad Parnassum, alludes to a study by Muzio Clementi. The titles of nos. 2 to 6 can be traced back to Debussy's love of everything English. Although the music addresses childish fantasy, at the least a talented amateur is required to perform it. The well-known number 6, Golliwogg's Cakewalk, is in ragtime style and shows Debussy's easy-going approach to popular trends in music. Children's Corner was immediately extremely successful and has been arranged for various groups of instruments.

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. Although Frédéric Chopin was one of the greatest piano virtuosos of his time, even pianists of moderate technical ability can enter into his Romantic, magical realm. His mastery was such that his own, unmistakeable style is tangible even in his shorter, less difficult pieces such as his mazurkas and waltzes. Our selection offers a progressive introduction to the musical language of this Polish-French master. Contents: Waltz in A minor, KK IVb, No. 11 · Waltz in B minor, Op. Post. 69, No. 2 · Waltz in C-sharp minor, Op. 64, No. 2 · Prelude in C minor, Op. 28, No. 20 · Prelude in B minor, Op. 28, No. 6 · Prelude in E minor, Op. 28, No. 4 · Prelude in E Major, Op. 28, No. 9 · Prelude in D-flat Major, Op. 28, No. 15 Raindrop · Mazurka in A minor, Op. Post. 68, No. 2 · Mazurka in B-flat Major, Op. 7, No. 1 · Mazurka in G minor, Op. 24, No. 1 · Mazurka in G minor, Op. Post. 67, No. 2 · Nocturne in G minor, Op. 15, No. 3 · Nocturne in C-sharp minor, KK Iva, No. 16 · Nocturne in E-flat Major, Op. 9, No. 2 · Funeral March from Sonata No. 2 in B-flat minor, Op. 35 · Polonaise in C-sharp minor, Op. 26, No. 1

Alongside the Chaconne for violin, the ten Chorale Preludes for organ are Busoni's best-known piano transcriptions of works by J. S. Bach. Unlike the Chaconne, which Busoni envisaged for concert performance, he transcribed the Chorale Preludes in chamber-music style. A great deal of this organ/piano edition can also be played by advanced amateurs. Henle is publishing Busoni's definitive version in the first modern Urtext edition with valuable fingering suggestions by Marc-André Hamelin. And what is more, in the appendix they are publishing an eleventh chorale prelude for the first time: Busoni's transcription of Aus tiefer Not. With regard to performing its six-part setting, the composer himself spoke of an extreme performance limit - but why not judge for yourself!

Alongside the Chaconne for violin, the ten Chorale Preludes for organ are Busoni's best-known piano transcriptions of works by J. S. Bach. Unlike the Chaconne, which Busoni envisaged for concert performance, he transcribed the Chorale Preludes in chamber-music style. A great deal of this organ/piano edition can also be played by advanced amateurs. Henle is publishing Busoni's definitive version in the first modern Urtext edition with valuable fingering suggestions by Marc-André Hamelin. And what is more, in the appendix they are publishing an eleventh chorale prelude for the first time: Busoni's transcription of Aus tiefer Not. With regard to performing its six-part setting, the composer himself spoke of an extreme performance limit - but why not judge for yourself!

Published by Henle and distributed by Breitkopf & Hartel.

Complete Edition with Critical Report.

Complete Edition with Critical Report.

As the new house composer at the Theater an der Wien, Beethoven had an opportunity to perform an oratorio during Passiontide in 1803. In a very short space of time he drew up his one and only work for this genre. It deals with Christ's suffering and prayer in the garden of Gethsemane until he is taken prisoner. Following the première, the publisher of the first edition, who disliked the operatic libretto by Franz Xaver Huber, had an unauthorized revision of the texts undertaken. Although Beethoven resisted and demanded that it should be changed back to the original, this new version spread throughout the world. Our edition presents the work with the original libretto that Beethoven set to music and following the text in the Beethoven Complete Edition.

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.

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.

This piece, probably the young Debussy's best known piano piece, was the slow third movement of his Suite bergamasque (HN 381) in four movements. Although it is conventional as far as the harmony is concerned, the tonal and melodic details already anticipate Debussy's later piano style. The suite was only published in 1905, although Debussy had made it clear by adding the date of composition 1890 to the proofs that it was an earlier work. The fact that he agreed to its publication shows that he still identified with this piece from a period whose style he had long since left behind him. Fingering: Hans-Martin Theopold

Following their edition of the Grand Concerto in F minor Op. 5 (51481209), Henle expands their series of Crusell's clarinet concertos to include the one in B-flat major Op. 11. The Swedish composer was himself a prominent clarinet virtuoso and the concertos were tailor-made for himself so to speak. Despite being technically very demanding, the Concerto in B-flat major avoids being overly virtuosic and wins us over with its melodic ingenuity. It is a very welcome addition to Henle's early Romantic repertoire for the clarinet. The clarinetist Nicolai Pfeffer edited the edition in an exemplary manner, consulting the sole surviving source, the first edition of 1829. Johannes Umbreit was responsible for the study score, which wonderfully fits the hands.

The Swedish composer Bernhard Henrik Crusell was long viewed as an insider tip among clarinettists; in the meantime, his concertos have found their way to the concert stage. This is hardly surprising considering the enchanting music with which Crusell - himself aclarinet virtuoso of international rank - has enriched the early romantic repertoire. Crusell's works needn't shy from a comparison with Weber's and Spohr's clarinet output. This Urtext edition of the F minor concerto marks the beginning of a new publication series of all three clarinet concertos by Crusell which has been entrusted to the editor and clarinetist Nicolai Pfeffer. Since he combines editorial experience with many years of performance practice, the works are in the best possible hands.

The most beautiful and significant clarinet concerto in the history of music is now appearing in a Henle Urtext edition. The piano reduction is accompanied by two separate parts: an urtext edition of the original clarinet part as found in the early prints, and a reconstruction for basset clarinet, the instrument for which the work was originally written. The editor, Henrik Wiese, provides a preface and commentary with an in-depth discussion of the work's unusual source materials. Mozart's concerto has become the indispensable audition piece. As a special bonus, this edition also includes the text of the autograph fragment for basset horn in G.

Following their edition of the Grand Concerto in F minor Op. 5 (51481209), Henle expands their series of Crusell's clarinet concertos to include the one in B-flat major Op. 11. The Swedish composer was himself a prominent clarinet virtuoso and the concertos were tailor-made for himself so to speak. Despite being technically very demanding, the Concerto in B-flat major avoids being overly virtuosic and wins us over with its melodic ingenuity. It is a very welcome addition to Henle's early Romantic repertoire for the clarinet. The clarinetist Nicolai Pfeffer edited the edition in an exemplary manner, consulting the sole surviving source, the first edition of 1829. Johannes Umbreit was responsible for the study score, which wonderfully fits the hands.

This edition completes Henle's series of all three clarinet concertos by the Swedish composer and clarinetist Bernhard Henrik Crusell. Issued in Leipzig in 1811, it was his first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio, it is probably the most Mozartian of all of his three concertos, although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinetist Nicolai Pfeffer is now presenting this charming work, between Classicism and Romanticism, on the basis of the first edition. The piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

This edition completes Henle's series of all three clarinet concertos by the Swedish composer and clarinetist Bernhard Henrik Crusell. Issued in Leipzig in 1811, it was his first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio, it is probably the most Mozartian of all of his three concertos, although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinetist Nicolai Pfeffer is now presenting this charming work, between Classicism and Romanticism, on the basis of the first edition. The piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

The Swedish composer Bernhard Henrik Crusell was long viewed as an insider tip among clarinettists; in the meantime, his concertos have found their way to the concert stage. This is hardly surprising considering the enchanting music with which Crusell - himself aclarinet virtuoso of international rank - has enriched the early romantic repertoire. Crusell's works needn't shy from a comparison with Weber's and Spohr's clarinet output. This Urtext edition of the F minor concerto marks the beginning of a new publication series of all three clarinet concertos by Crusell which has been entrusted to the editor and clarinetist Nicolai Pfeffer. Since he combines editorial experience with many years of performance practice, the works are in the best possible hands.

The Clarinet Concerto in C minor of 1809 is the very first work by Louis Spohr to grace Henle's catalog. The first in a series of four concertos written by Spohr for the virtuoso Johann Simon Hermstedt has lost nothing of its romantic magic and belongs to the standard repertoire of every clarinettist. Besides taking a close look at the Leipzig first edition of 1812, this edition reassesses Spohr's autograph score for the first time: after it was rediscovered, it was possible to do away with many imprecisions and irregularities found in earlier editions. Christoph Sobanski's new piano reduction wonderfully fits the hands.

The Clarinet Concerto in C minor of 1809 is the very first work by Louis Spohr to grace Henle's catalog. The first in a series of four concertos written by Spohr for the virtuoso Johann Simon Hermstedt has lost nothing of its romantic magic and belongs to the standard repertoire of every clarinettist. Besides taking a close look at the Leipzig first edition of 1812, this edition reassesses Spohr's autograph score for the first time: after it was rediscovered, it was possible to do away with many imprecisions and irregularities found in earlier editions. Christoph Sobanski's new piano reduction wonderfully fits the hands.

Louis Spohr's concertos have long been a standard feature in the clarinet repertoire, but up to now they have suffered due to a lackof reliable editions. In order to fill this gap, G. Henle Publishers is now following its edition of the Concerto no. 1 in c minor (HN 995) with a critical edition of the Concerto no. 2 in E flat. This is the only one of Spohrs four clarinet concertos in a majorkey, and its buoyant atmosphere and joie de vivre remain captivating - especially in the final, alla polacca movement. It is hard to believe that this is the first-ever Urtext edition of this concerto! For this edition, Ullrich Scheideler has consulted both the first edition of 1822, published in Leipzig, as well as an important early manuscript. A new, practical, easy-to-play piano arrangement of the orchestral accompaniment has been made by Christoph Sobanski. The orchestral parts may be hired from Breitkopf & Härtel.

Ever since Mozart encountered the clarinet in Mannheim in 1778 he loved the instrument's warm and expressive tone. His friendship with Anton Stadler, the clarinetist in the Royal-Imperial Court Orchestra in Vienna, prompted him to compose not only the Clarinet Concerto (K. 622) but also the Quintet of Quintets, which was written two years before his death. Like almost all his works for the clarinet, this Quintet was probably intended originally for the basset clarinet. However, it survives only in two posthumous prints, both of which call for a standard clarinet. These prints form the basis of our edition. As an added bonus, the appendix contains a fragmentary Allegro in B-flat major for the same combination of instruments.

With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.

With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.

Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing - and presumably with a view toward further dissemination of the work - an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorized by Brahms. The Henle Urtext edition, revised according the text of the New Brahms Complete Edition, thus also includes the alternate viola part. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.

Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Muhlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing - and presumably with a view toward further dissemination of the work - an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorized by Brahms. The Henle study edition, revised according to the text of the New Brahms Complete Edition, thus also documents for the first time the viola variants of the solo part in the ossias. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.

Ever since Mozart encountered the clarinet in Mannheim in 1778 he loved the instrument's warm and expressive tone. His friendship with Anton Stadler, the clarinetist in the Royal-Imperial Court Orchestra in Vienna, prompted him to compose not only the Clarinet Concerto (K. 622) but also this Quintet of Quintets, which was written two years before his death. Like almost all his works for the clarinet, this Quintet was probably intended originally for the basset clarinet. However, it survives only in two posthumous prints, both of which call for a standard clarinet. These prints form the basis of our edition. As an added bonus, the appendix contains a fragmentary Allegro in Bb major for the same combination of instruments.

For clarinet (A), 2 violins, viola, and cello.

For clarinet (A), 2 violins, viola, and cello.

With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.

With his clarinet quintet, begun in 1915, Reger was remembering his role models Mozart and Brahms, whose works in this genre he particularly admired. This melancholic quintet that is worked through in a strictly motivic way was to be Reger's last opus. Shortly after he had sent it to his publisher, he died of a heart attack in May 1916. The quintet was to become his swan song, first performed at a memorial for the composer on 6 November 1916. Almost one hundred years later, Henle now publishes it for the first time in an Urtext edition, edited by the Reger scholar Michael Kube.

Just as Johannes Brahms had done with his Opus 120, Reger also provided parts for two alternative solo instruments for his Sonata op. 107: I will also arrange the clarinet part for viola, so that the work can also be played thus (letter to his publisher). He by no means wanted to leave the arrangement of the viola part to the publisher, as slurs had to be changed here and there as well as octave transpositions had to be made - Only I can do this work! The viola's sonorous mid range comes close to that of the clarinet, but lends the work its own timbre. Viola players will also value this Urtext edition on account of the practical fingerings and bowing marks.

When Reger submitted his Clarinet Sonata op. 107 for printing, he remarked that You immediately notice that the work was originally for clarinet (viola) but that it can also be played by violin and piano. He wrote the violin part himself, adjusting it to suit the needs of the violin. Even before the first performance of the original for clarinet, he had tried out the work with a violinist. Should the critics claim once again that it is incomprehensible - then these gentlemen are simply first class asses. The work sounds very good, is intimate chamber music and not difficult to play together. There is nothing more to be said.

Saint-Saëns wrote his three wind sonatas Opp. 166-168 in his final year. These new Urtext editions are based on the composer's manuscripts, marking the first time they have been consulted since initial publication.

We owe a debt of gratitude to the clarinettist Richard Mühlfeld for making the elderly Brahms so interested in his instrument. In the 1890s the composer wrote the Trio op. 114, the Quintet op. 115 and the Sonatas op. 120 - three gems in the clarinet chamber music repertoire. Brahms also provided a part for viola as an alternative to the clarinet. The revision of our edition of the viola version of opus 120 is based on the musical text of the New Brahms Complete Edition and in many respects contains significant improvements: we were able to consult the autograph for the first time; the newly set piano score now contains the viola part; and viola players can benefit from fingerings and bowings by Tabea Zimmermann in the solo part. Includes marked and unmarked string parts.

We owe a debt of gratitude to the clarinettist Richard Mühlfeld for making the elderly Brahms so interested in his instrument. In the 1890s the composer wrote the Trio op. 114, the Quintet op. 115 and the Sonatas op. 120 - three gems in the clarinet chamber music repertoire. Brahms also provided a part for viola as an alternative to the clarinet. The revision of our edition of the viola version of opus 120 is based on the musical text of the New Brahms Complete Edition and in many respects contains significant improvements: we were able to consult the autograph for the first time; the newly set piano score now contains the viola part; and viola players can benefit from fingerings and bowings by Tabea Zimmermann in the solo part. Includes marked and unmarked string parts.

11 intermediate to early advanced level sonatas. CPE Bach: First Prussian Sonata in F major Wq 48,1 · Beethoven: Sonata in E major, Op. 14, No. 1 · Beethoven: Sonata in G major, Op. 14, No. 2 · Beethoven: Sonata in G minor, Op. 49, No. 1 · Beethoven: Sonata in G major, Op. 49, No. 2 · Clementi: Sonata in G major, Op. 39, No. 2 · Haydn: Sonata in C major, Hob. XVI:35 · Haydn: Sonata in G major, Hob. XVI:40 · Mozart: Sonata in F major, K. 280 (189e) · Mozart: Sonata in G major, K. 283 (189h) · Mozart: Sonata [Facile] in C major, K. 545.

In Schumann's middle years there was a longer period in which he favored larger groups of instruments. Although he composed a few single pieces for piano, they remained unpublished at first. It was only after the resounding success of the Album for the Young that he once again turned to several of these pieces to combine them in an album. Originally the collection was to be called Spreu (chaff) but the publisher was not convinced by this. Some of the altogether 34 pieces were finally published under the title Coloured Leaves, which quickly became a bestseller. As part of our Schumann revision we have now produced a new version of this edition to reflect the latest in scholarly research.

All of Kuhnau's works published together in one volume for the first time.

With his Lyric Pieces, Edvard Grieg was writing a kind of poetic piano diary: between 1867 and 1901 he composed 66 short characterpieces, published in ten books. Pieces such as Wedding Day at Troldhaugen, March of the dwarfs or To the spring are among Grieg's best-known works. Alongside these fairly virtuosic pieces there are also numerous simpler dances and melodies that can be played at an early stage when learning the piano. Until now only five single books were available from Henle (HN 619, 627, 644, 681,713), but now we are publishing the complete collection in a collected volume, with fingerings by the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg.

With his Lyric Pieces, Edvard Grieg was writing a kind of poetic piano diary: between 1867 and 1901 he composed 66 short character pieces, published in ten books. Pieces such as Wedding Day at Troldhaugen, March of the dwarfs or To the spring are among Grieg's best-known works. Alongside these fairly virtuosic pieces there are also numerous simpler dances and melodies that can be played at an early stage when learning the piano. Until now only five single books were available from Henle (51480619, 51480627, 51480644, 51480681, 51480713), but now they have published the complete collection with fingerings by the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg.

Throughout his life Mozart composed individual pieces for the keyboard. This wealth of material offers us an exceptional insight into his musical development. For the first time ever, we are now offering all of these works in a single edition. Our edition has been completely revised, taking into account the latest findings in Mozart scholarship. In many instances, sources which have only recently been made available or which have been newly interpreted have formed the cornerstone of the revision. This has also led to the inclusion of works which were not in the previous Henle edition.

Edition in 3 volumes: HL 51481436 (Volume I), HL 51481538 (Volume II), HL 51481540 (Volume III) The revision of the three-volume edition of Haydn's piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure Urteext, free from added fingering suggestions, will now also find these in the Henle catalogue. Volume I contains Haydn's early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this group has been questioned - the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute, now provides comprehensive information on new findings regarding this important topic area. Contents: Piano Sonata in C Major, Hob. XVI:1 Piano Sonata in B-flat Major, Hob. XVI:2 Piano Sonata in C Major, Hob. XVI:3 Piano Sonata in D Major, Hob. XVI:4 Piano Sonata in A Major, Hob. XVI:5 Piano Sonata in G Major, Hob. XVI:6 Piano Sonata in C Major, Hob. XVI:7 Piano Sonata in G Major, Hob. XVI:8

Edition in 3 volumes: HL 51481436 (Volume I), HL 51481538 (Volume II), HL 51481540 (Volume III) The revision of the three-volume edition of Haydn's piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure Urteext, free from added fingering suggestions, will now also find these in the Henle catalogue. Volume I contains Haydn's early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this group has been questioned - the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute, now provides comprehensive information on new findings regarding this important topic area. Contents: Piano Sonata in C minor, Hob. XVI:20 Piano Sonata in C Major, Hob. XVI:21 Piano Sonata in E Major, Hob. XVI:22 Piano Sonata in F Major, Hob. XVI:23 Piano Sonata in D Major, Hob. XVI:24 Piano Sonata in E-flat Major, Hob. XVI:25 Piano Sonata in A Major, Hob. XVI:26 Piano Sonata in G Major, Hob. XVI:27 Piano Sonata in E-flat Major, Hob. XVI:28 Piano Sonata in F Major, Hob. XVI:29 Piano Sonata in A Major, Hob. XVI:30 Piano Sonata in E Major, Hob. XVI:31 Piano Sonata in B minor, Hob. XVI:32 Piano Sonata in C Major, Hob. XVI:35

Edition in 3 volumes: HL 51481436 (Volume I), HL 51481538 (Volume II), HL 51481540 (Volume III) The revision of the three-volume edition of Haydn's piano sonatas also appears in a version without fingerings. Whoever wishes to study the Classical sonata canon in pure Urteext, free from added fingering suggestions, will now also find these in the Henle catalogue. Volume I contains Haydn's early sonatas, very much still born of the spirit of the early Classical period: catchy music, fun to play, often at a moderate level of difficulty, without which modern piano instruction would be nearly unthinkable. Time and again, the authenticity of individual sonatas from this group has been questioned - the preface by Armin Raab, the Scholarly Director of the Joseph Haydn Institute, now provides comprehensive information on new findings regarding this important topic area. Contents: Piano Sonata in D Major, Hob. XVI:33 PIano Sonata in E minor, Hob. XVI:34 Piano Sonata in G Major, Hob. XVI:40 Piano Sonata in B-flat Major, Hob. XVI:41 Piano Sonata in D Major, Hob. XVI:42 Piano Sonata in A-flat Major, Hob. XVI: 43 Piano Sonata in C Major, Hob. XVI:48 Piano Sonata in E-flat Major, Hob. XVI:49 Piano Sonata in C Major, Hob. XVI:50 Piano Sonata in D Major, Hob. XVI:51 Piano Sonata in E-flat Major, Hob. XVI:52

55 internationally celebrated pianists were invited to adopt one Haydn piano sonata each and provide it with their personal fingerings - a who's who on the contemporary piano scene. G. Henle Publishers now presents this classic, revised and with a new look, to all pianists in the certainty that Haydn's sonatas will further cement their place in the world of music. Volume III offers the crowning achievement of Haydn's sonata-writing with these late works, including famous works such as the stormy Sonata in E minor Hob. XVI:34 and the grand Sonata in E-flat Major Hob. XVI:52. Superbly laid-out settings for the piano are combined here with great musical expressivity, which is why these sonatas remain firmly anchored in concert life to this day. CONTENTS: Piano Sonata in D Major, Hob. XVI:33 Piano Sonata in E minor, Hob. XVI:34 Piano Sonata in G Major, Hob. XVI:40 Piano Sonata in B-flat Major, Hob. XVI:41 Piano Sonata in D Major, Hob. XVI:42 Piano Sonata in A-flat Major, Hob. XVI:43 Piano Sonata in C Major, Hob. XVI:48 Piano Sonata in E-flat Major, Hob. XVI:49 Piano Sonata in C Major, Hob. XVI:50 Piano Sonata in D Major, Hob. XVI:51 Piano Sonata in E-flat Major, Hob. XVI:52