Edited by Henrik Weise. Piano reduction by Jan Philip Schulze. Cadenzas by Robert D. Levin.

First conceived in 1803/04 as the slow movement of the Piano Sonata in C major op. 53 (the Waldstein Sonata), the Andante turned out too long in Beethoven's view and was replaced. Beethoven had it published as a standalone movement, presumably in 1805. The movement, marked Grazioso con moto, is characterized by a large variety of compositional techniques ranging from simple chord progressions to orchestral-like octave runs. Because of its particular popularity, this single movement was published as Andante favori in its second printing - a moniker that apparently harks back to Beethoven himself. Based on her preliminary research for the critical Complete Edition, Beethoven specialist Joanna Cobb Biermann has carefully revised the musical text of the Henle Urtext edition and updated the preface to reflect the latest scholarship.

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. Bach gave his wife Anna Magdalena two handwritten books of music. The second one is of particular value with its gilt-edged, vellum-covered binding. In this little book of 1725 he noted down numerous piano works in the most different styles - both his own and by other composers. The Henle Urtext edition, which incidentally is one of our bestselling titles, faithfully reproduces the complete contents of this manuscript, aside from the movements from the French Suites (HN71) and Partitas (HN28) in the notebook, which can be found elsewhere in the Henle catalogue. It is also an example of beautiful engraving by hand.

Bach gave his wife Anna Magdalena two handwritten books of music. The second one is of particular value with its gilt-edged, vellum-covered binding. In this little book of 1725 he noted down numerous piano works in the most different styles - both his own and by other composers. The Henle Urtext edition, which incidentally is one of our bestselling titles, faithfully reproduces the complete contents of this manuscript, aside from the movements from the French Suites (HN 71) und Partitas (HN 28) in the notebook, which can be found elsewhere in the Henle catalogue. It is also an example of beautiful engraving by hand.

The composition and publication of the first two volumes of Liszt's Années de pèlerinage are closely interlinked. Barely a year after returning from Switzerland, Liszt and his companion Marie dAgoult set off in August 1837 on a trip to Italy which was to last over two years. In the Switzerland volume the composer portrayed first and foremost the nature, landscape and history of the country in his music, whereas the Italy part is devoted to impressions from literature (Petrarch, Dante) and the visual arts (Raffael, Michelangelo). The total of seven pieces, the high point of which is the Dante Sonata at the end, were composed between 1838 and 1849, but parts were reworked several times before their publication in 1858. The Venezia e Napoli volume, published three years later as a supplement, is available separately as HN 985. In this revised edition, a manuscript copy of no. 2 with corrections by Liszt (the engravers copy) has also been evaluated for the first time. The new fingering is by Swiss pianist Francesco Piemontesi.

The three volumes of the Années de pèlerinage (Years of Pilgrimage) are a core part of Liszt's pianistic output. While the first two collections comprise travel impressions from Switzerland and Italy in the 1830s, this final one, published only after a long interval in 1883, reflects a spiritual journey. It is the expression of the changed circumstances of the composer, who had taken minor holy orders in Rome in 1865 and henceforth called himself the Abbé Liszt. Several newly-discovered or newly-accessible sources have been consulted for Henle Urtext's revised edition, with the accompanying texts reflecting the latest state of research. French pianist Cédric Tiberghien provides the fingering.

Between 1837-39 Liszt was travelling through Italy with Marie d'Agoult. As was the case with the first volume of the Années de Pèlerinage, Schweiz (1835/36) he once again recorded his travel impressions in musical form. He devoted himself to subjects from literature (Petrarca, Dante) and the visual arts (Raffael, Michelangelo). Many years later Liszt reworked the pieces, publishing them in 1858 as Années de Pèlerinage, Zweites Jahr, Italien. The central work in this volume is the large-scale so-called Dante Sonata (Après une Lecture de Dante, see also single edition HN 981). The Sonetto 104 del Petrarca (also available as a single edition HN 982) is just as popular. In 1861 Liszt published an appendix to Volume II, Venezia e Napoli, which is also available as a separate edition HN 985.

In 1835/1836 Liszt was staying in Switzerland with his mistress Marie Comtesse d'Agoult. He published his bold, avant-garde musical portrayal of his travels in the Swiss mountains in 1842 under the title Album d'un Voyageur. Around 1850 the one-time enfant terrible had become a mature composer. Liszt reworked his early compositions and published them in 1855 as Années de Pèlerinage, Erstes Jahr, Schweiz. The showpiece in the collection is the naturalistic and poetic Vallée d'Obermann after the novel by Senancourt; the early version is also reproduced in the appendix to our edition (single edition with extensive commentary of the 1855 version HN 813).

In 1883 the third volume of Années de Pèlerinage was published. Whereas the pieces in Volumes I and II were recollections of early travels in Switzerland and Italy, the new works, composed between 1867 and 1877, were more of a religious pilgrimage. Some parts already reflect Liszt's austere later compositional style. With the visionary Jeux d'eaux à la Villa d'Este, on the other hand, he almost enters the world of Impressionist sounds (it inspired Ravel to write his Jeux d'eau). The Bible quotation about the water of life, contained in a footnote, leaves no doubt as to the spiritual dimension of the piece (also available in a separate edition HN 983).

G. Henle Verlag is known the world over for creating the best possible editions of music by master composers. As a natural outcome of its research with composers' manuscripts, Henle is proud to offer an exclusive line of deluxe posters and greeting cards. They are printed on premium paper, presenting the best possible images of sample pages from original music manuscripts by Beethoven, Brahms, Chopin, Dvorák, Liszt, Schubert, and Schumann. How often does anyone have the opportunity to see a page of Mozart's original manuscript in full color, exactly the way the composer wrote it? Access to these valuable, protected sources has been confined only to elite scholars. There are ten different manuscript images. Each is available as a poster (23-3/8 inch. x 33 inch.), or as a greeting card (Blank inside. Includes envelope. Each card is individually sealed in protective plastic. 4-5/8 inch. x 6-1/2 inch.). Manuscript from 1876/1883, National Museum, Prague Dvorák-Museum.

Often referred to as the Dante Sonata, this single-movement sonata is based on the Canto Inferno in Dante's poem, which depicts the soul's descent into hell. Now available as a single Urtext edition.

Composed in Vienna in 1838 along with several other shorter pieces, Schumann's Arabesque has found a permanent place in the general piano repertoire. It may owe its lightness and grace to Schumann's urge to rise up and become the favorite composer of all the ladies of Vienna. As a result, the Arabesque is a prime example of entertainment music in the best sense of the word. The musical text of this new edition has been thoroughly revised and provided with an informative preface and editorial notes.

The works for solo voice(s) and orchestra assembled in this volume owe their composition to the most diverse occasions. Some were tailor-made for female singers in Beethovens milieu, while with others he was dabbling in the field of Italian opera (under the tutelage of none other than Antonio Salieri). Scarcely any of them made it into print during Beethovens lifetime. Aside from canonical works of the repertoire such as Ah! perfido op. 65, this volume also contains unknown gems like the scene and aria Beethoven revised multiple times, No, non turbarti - Ma tu tremi, o mio tesoro?. The study score contains the text of the scholarly Complete Edition. Beethoven specialist Ernst Herttrich additionally provides information about the genesis and exciting variants in the transmission history.

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 (HL 51480782), and again in 1901, this time with the title Asturias in the Suite Espagnole (HL 51480783), and the pieces 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.

They are in a light style, intended more for use in the home than for concert performance. Thus Smetana described these two duets in which he memorialized his Bohemian homeland. It is a fact, though scarcely believable, that Smetana had by this time already been deaf for two years. The pieces were popular from the outset: Smetana was able to demand a high price for them, and even to play off several aspiring publishers against each other. The duets are not technically over-demanding, and attract by means of their joyful character and powerful melodies.

Satie's Next-to-last thoughts contain a short whimsical story printed in the musical text as a subtext. Each piece was dedicated to prominent contemporaries: Idylle (Claude Debussy), Aubade (Paul Dukas), and Méditation (Albert Roussel).

Satie's Next-to-last thoughts contain a short whimsical story printed in the musical text as a subtext. Each piece was dedicated to prominent contemporaries: Idylle (Claude Debussy), Aubade (Paul Dukas), and Méditation (Albert Roussel).

There are probably very few piano students who have not tried their hand at this piece; it is undeniably one of the most popular classical piano pieces today. And yet unanswered questions still remain. They not only concern details in the musical text but also its famous nickname: Is Elise, the reading in the dedication in the autograph, even actually correct? Or should it read Therese? And whom might Beethoven have actually meant? The most recent findings with regard to these questions are documented in this Henle Urtext edition. The revised musical text is now being published in advance of the long-awaited volume Piano Pieces in the Complete Edition, prepared by the Beethoven scholar Joanna Cobb Biermann.

There are probably very few piano students who have not tried their hand at this piece; it is undeniably one of the most popular classical piano pieces today. And yet unanswered questions still remain. They not only concern details in the musical text but also its famous nickname: Is Elise, the reading in the dedication in the autograph, even actually correct? Or should it read Therese? And whom might Beethoven have actually meant? The most recent findings with regard to these questions are documented in this Henle Urtext edition. The revised musical text is now being published in advance of the long-awaited volume Piano Pieces in the Complete Edition, prepared by the Beethoven scholar Joanna Cobb Biermann.

In autumn 1891 Debussy's early piano piece, Ballade slave, was published by Choudens. When he had it re-engraved by Fromont in a slightly revised form in 1903, he deleted the word slave. Thus the title pointed more markedly to the work's narrative character. Yet one can detect a certain Russian influence, stemming from the time he spent with Nadeshda von Meck - Debussy was at times her house pianist. Even echoes of Balakirev can be heard. The occasionally unconventional tonal approach already heralds the Debussy of the important cycle Pour le Piano, published in 1901.

Chopin was probably the first to apply the word 'ballade' to music, Robert Schumann once wrote. He and his contemporaries were only familiar with the term ballad as a literary generic concept. Poems by Chopin's compatriot Adam Mickiewicz are said to have inspired the composer's ballades, although there is no concrete evidence to support this. However, the dramatic narrative gesture of the literary ballad can clearly be seen in this new genre, as in Ballade no. 3 op. 47 which is now available as a single edition following a revision of the complete volume (HN 862).

Now available in an affordable single edition, taken from the recently revised edition of the Ballades (available as 51480862).

With this poetic masterpiece all four of the recently revised Ballades (HN 862) are now available as single editions. Following a restrained opening in C major and the first dreamy sounds of the theme, the tension continually increases to the brilliant closing coda before the work finally fades away after four chords. Two autograph scores survive for the fourth ballade, although they are merely fragments. However, the first editions provide important information, particularly since Chopin undertook further corrections after the first printing.

When Chopin gave his Opus 23 the title Ballade in the mid 1830s, he established the piano ballade as a new musical genre which was subsequently taken up by others, including Brahms, Liszt and Grieg. The idea of transforming a fictional, dramatic and mystical event into music particularly suggested itself to the Romantic Schumann. He was enthusiastic about this work: I have a new Ballade by Chopin. It seems to me to be one of his most brilliant (not most inspired) works. Our single edition has been taken from the recently revised edition of the Ballades (HN 862). Detailed information on the genesis of this work and an evaluation of the sources can be dwonloaded from www.henle.com free-of-charge.

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. Following the Préludes, we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Liszt wrote his two Ballades in 1845-49 and 1853 during a time of personal turmoil. The successful virtuoso increasingly saw himself as a composer who strove after formal clarity, as shown by the B minor sonata that was also composed in 1853. When Liszt began work on the first Ballade, he had just separated from his mistress of many years, Marie Comtesse d'Agoult. He called the first sketches for the work Dernières Illusions. A better-known work is the second Ballade in B minor, with whose ending he struggled (the two fortissimo endings in Liszt's autograph have been published for the first time in the appendix to our edition).

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. Following the Préludes, we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Extensive Critical Commentary in German.

The Scottish ballad Edward from J. G. Herders anthology of folk songs Stimmen der Völker in Liedern made such a deep impression on Brahms that, as he told a friend, the melodies came to him effortlessly. Edward provided the motif for the first of four ballade compositions, musical tales of a dramatic romantic nature that were linked with memories of Clara Schumann for Brahms. Julius Grimm, to whom the pieces were dedicated, also said that the Ballades are really for her. Robert Schumann was very enthusiastic about his young colleague's composition. The renowned pianist Lars Vogt provided fingering for our Urtext edition of this easy-to-play work. We present the scholarly musical text following the soon-to-be-published volume in the Brahms Complete Edition.

In 1836 Chopin introduced the term ballad into piano music with the publication of his Ballad op. 23, although up to then it had only been used in literature and in vocal music. Indeed, all four of Chopin's ballads have the character of a dramatic story: the musical thread is spun with increasing tension throughout the work, reaching a powerful climax at the end. Following the Préludes, we have now thoroughly re-evaluated this edition and revised it to include the latest scholarly findings. The most significant ones are documented in the printed critical apparatus; the detailed version can be downloaded from the Internet.

Revised edition of Chopin's unique work now offered as a single edition. With extensive explanatory notes. This new edition of the Chopin Barcarolle contains all of the many excellent features one might expect to find in a Henle edition. A Comments section skillfully describes the complex circumstances surrounding the publication of the work and the resulting discrepancies between original sources and early editions...For the serious pianist wishing to study this work, the commentary in this edition will prove invaluable.--American Music Teacher

Revised edition of Chopin's unique work now offered as a single edition. With extensive explanatory notes. This new edition of the Chopin Barcarolle contains all of the many excellent features one might expect to find in a Henle edition. A Comments section skillfully describes the complex circumstances surrounding the publication of the work and the resulting discrepancies between original sources and early editions...For the serious pianist wishing to study this work, the commentary in this edition will prove invaluable.--American Music Teacher

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.

Beethoven's 32 piano sonatas are the New Testament of music, according to Hans von Bülow. Our selection here does not take things quite so solemnly, because we have also taken the opportunity to show the more worldly side of the composer, with dances, bagatelles, the unusual character piece Lustig und traurig (Happy and sad), and of course, the indestructable Für Elise. As usual in our series At the Piano, all the pieces are arranged progressively from easy to medium level of difficulty. And you do not have to be in awe of Beethoven's piano sonatas either: the highly Classical sonata in G major (essentially a sonatina) offers an ideal introduction to the many-facetted world of Beethoven's sonatas. In contrast to this, we also show Beethoven the poet at the piano, with the first movement of his Moonlight Sonata in C sharp minor, along with the funeral march from the Sonata in A-flat major - visionary creations that already point far ahead into the world of Romanticism. Contents: Lustig-Traurig, WoO 54 · Six Ecossaises, WoO 83 · Bagatelle in A minor, WoO 59 Für Elise · Piano Sonata No. 20 in G Major, Op. 49, No. 2 · Adagio sostenuto from Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 Moonlight · Marcia Funèbre sulla morte d'un Eroe from Piano Sonata No. 12 in A-flat Major, Op. 26 · Piano Sonata No. 9 in E Major, Op. 14, No. 1 · Nine Variations onQuant' è più bello from La Molinara by Giovanni Paisiello, WoO 69 · Bagatelle in G Major, Op. 126, No. 1 · Bagatelle in G Major, Op. 126, No. 5

Klaus Martin Kopitz spent almost ten years collecting the numerous records by Beethoven's contemporaries, which were partly published separately over the course of two centuries. He presents them to the reader with state-of-the-art text analysis and scholarly criticism. Some of the prominent contemporaries include Bettina von Arnim, Muzio Clementi, Johann Wolfgang von Goethe, Franz Grillparzer, Nikolaus Lenau, Franz Liszt, and Ludwig Tieck. A chronology of sources as well as an index of their provenance, works and planned works and names of people round off this double volume. In its scope this edition far exceeds previous collections of its kind.

An expressive piano work drawn from the cycle Harmonies poétiques et religieuses, which was inspired by religious-philosophical poems of the French Romantic Alphonse de Lamartine. Includes Liszt's fingering and Lamartine's text in three languages.

An expressive piano work drawn from the cycle Harmonies poétiques et religieuses, which was inspired by religious-philosophical poems of the French Romantic Alphonse de Lamartine. Includes Liszt's fingering and Lamartine's text in three languages.

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!

Replaced by revised edtion 51481258.