Vores kunder ligger øverst på Google

Protector for Musik Reader : Tablet Protector for 12,9'' iPad Pro

Protective clothbound cover in Henle blue for Apple's large iPad Pro (12,9'' 32,78 cm). Includes a holder for an Apple Pencil. (iPad not included.)

Auf dem Strom D 943 : Original Key for High Voice

The scoring of Schubert’s Auf dem Strom (On the River) for voice, horn and piano is reminiscent of that of the Hirt auf dem Felsen (Shepherd on the Rock, HN 969) with obligato clarinet. Both pieces were written in 1828 and each one upon a musician’s request – in this case that of the horn player Rudolf Lewy. Schubert gave the first performance of Auf dem Strom with the latter and the tenor Ludwig Tietze on 26 March 1828 in Vienna. It was such a success that it was soon performed again, and the press raved about it being an “indescribable treat for the ears”. This popular work is now available in a handy format for singers, with, of course, parts for horn in E as well as atransposition for horn in F.

Sonata for Violoncello and Piano Op. 2

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! 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!

Suites for Keyboard

Johann Jacob Froberger may no longer be considered the progenitor of the Piano suite, but his suites for keyboard instruments have, without a doubt, had a considerable influence on the development of this genre. His programmatic suites, of which some bear autobiographic features, attained particular fame. Others are marked “Lamentation” or “Méditation” in view of his own imminent death. For the first time, all his suites are now being published in one volume as the Urtext – an unparalleled compendium of Froberger’s art, edited by harpsichordist Pieter Dirksen. A must, not just for fans of Froberger, but also for pianists wishing to explore this repertoire on the Piano

Dances for Piano

The Menuett, the Deutscher Tanz, the Kontretanz and the Ecossaise were extraordinarily popular social dances during Beethoven’s lifetime. Thus along with sonatas and variations Beethoven on numerous occasions composed easy-to-play dances and dance collections for solo piano, which are brought together in their entirety for the first time in our volume. Beethoven did not give these occasional pieces an opus number, so today they are numbered only as WoO (Werke ohne Opus, or works without opus). A few dances are piano arrangements of orchestral dances, since piano reductions for home music-making were indispensable at that time. As is to be expected from a substantial Urtextedition, the preface and Critical Notes for this important collection deal with the complex source situation of the individual pieces, along with the question of the authenticity of these piano arrangements.

Serenade Melancolique Op 26 For Violin & Piano : for Violin and Piano

Following the publication of the Valse-Scherzo, we continue Henle's edition of Tchaikovsky’s complete works for violin and piano with the enchanting Sérénade mélancolique, op. 26. This was Tchaikovsky’s first concertante work for violin, the beginning of a path that was to lead to his Violin Concerto three years later. He composed the Sérénade mélancolique in 1875 for violinist Leopold Auer, originally for violin and orchestra, but later also in a version for violin and piano. Since the autograph sources are lost, this Henle edition is based on the Russian first editions, which even in Tchaikovsky’s lifetime were issued in a number of revised versions. The editor, RussianTchaikovsky scholar Alexander Komarov, brings exemplary clarity to the confused state of the sources, while Ingolf Turban unlocks the notation of the violin part with his accomplished fingerings and bowings.

Winterreise Opus 89 High Voice

42 Etudes for Violin

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-after Violin 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.

Concerto for Orchestra

With the “Concerto for Orchestra,” Henle inaugurates a series of affordable study scores based on the text of the Bartók Complete Edition. When Bartók received the commission to compose this piece from Serge Koussevitsky in May 1943, it meant not only financial support, but also an important creative impetus for the gravely ill composer. By October, the five-movement concerto, which Koussevitsky enthusiastically dubbed “the best orchestral work of the last 25 years,” was already complete. The first performances in the winter of 1944–45 were also very successful. Nevertheless, Bartók was moved to set down an alternate ending, which thecomposer, who passed away in September 1945, would never be destined to hear. Bartók specialist Klára Móricz includes both versions in her edition and summarises the history and transmission of the “Concerto for Orchestra” in a fascinating foreword. A brief commentary section provides information about the principles underlying the edition.

Concerto for Organ : Concerto for Organ (Harpsichord)

Joseph Haydn left five organ concerti to posterity. Their genesis can only be approximately determined, but is probably datable to the 1750s, when Haydn was still active, inter alia, as organist to Count Haugwitz. The C major Concerto Hob. XVIII: 10, transmitted only in one single manuscript, was not rediscovered until the 1960s and first published by the Henle Urtext edition in 1969. In the sole surviving manuscript, the solo instrument is identified as a harpsichord, but various criteria unequivocally suggest that it was intended for the organ. It belongs to the type of brief, easily playable solo concerto with string accompaniment.

Prelude and Fugue in D major for Organ

Arrangement for Piano

Norwegian Dances op. 35 : Version for Piano

The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. For his Norwegian Dances op. 35, presented here in an Urtext edition, Grieg took old folk tunes from a collection published by the musician and researcher Ludvig Mathias Lindeman and arranged them for piano four hands in 1880. A few years later, Grieg also made the two-hand version presented here. For this Henle Urtext edition, all the extant autographs in the Grieg Archive in Bergen, Norway were consulted along with the contemporary first editions. The co-editor here is the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg, who is also responsible for thefingerings.

W. A. Mozart: Divertimenti For Wind Sextet (Study Score)

Urtext edition study score for Mozart 's Divertimenti For Wind Sextet , for 2 Oboes, 2 Horns and 2 Bassoons. Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 1777 when he was living in Salzburg. The Italian title is reminiscent of simple 'light' music, but the pieces’ melodic ingenuity and colourful writing for Winds show it to be chamber music of the highest quality.

Edward Elgar: Salut d'Amour Op. 12 For Piano

Edward Elgar ’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts, the work became an enormous success early on. Notes in the surviving autographs for the versions for Violin and Piano (HN 1188), Violoncello and Piano (HN 1189) and Piano solo show that Elgar had intended making arrangements for numerous scorings – but only the three named versions were authorised through original manuscripts. Amongst these the Piano version has a special significance: Caroline Alice Roberts was a Piano pupil of Elgar ’s and thus the composer might have rewritten the original for Violin and Piano for his fiancée and later wife. Alongside the first print, we have also evaluated Elgar ’s autograph engraver’s copy for the first time.

Spring Night From Song Cycle Op. 39 : Arrangement For Piano

Robert Schumann's Frühlingsnacht (Spring night) was one of his most popular songs even in the 19th century. Franz Liszt made a piano arrangement of it that in the space of under 70 measures emerges as a veritable concert piece. Itmakes high demands on the pianist's stamina, especially in its triplet chords. But this did not hinder its wide popularity. The first edition was published in 1872 and enjoyed many reprints during Liszt's lifetime. In 1895, thispiece was also republished in a newly engraved edition. With its abundant technical indications, assorted ossias and the incorporation of the text of the poem above the music, Liszt's arrangement makes the highest demands on amusic engraver - a challenge that this Henle Urtext edition is delighted to meet.

Norwegian Dances op. 35 : for Piano Four-hands

The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. The Norwegian Dances op. 35 of 1880, presented here in an Urtext edition, are arrangements for piano four hands of old folk tunes that Grieg took from a collection published by the musician and researcher Ludvig Mathias Lindeman. For this Henle Urtext edition, all the extant autographs in the Grieg Archive in Bergen, Norway were consulted along with the contemporary first editions. The co-editor here is the Norwegian pianist and Grieg specialist Einar Steen-Nøkleberg, who is also responsible for the fingerings.

Kol Nidrei Opus 47 for Violoncello and Orchestra

Aside from his popular Violin Concerto no. 1, “Kol Nidrei” numbers among Max Bruch’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “Kol Nidrei” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “Kol Nidrei” appears for the first time in an Urtextedition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.

21 Etüden für Violoncello : 21 Etudes for Violoncello

“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.

Concerto in B Minor Op. 35 for Violin and Piano

The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.The name Oskar Rieding may seldom appear in concert programmes, but for students of the violin it is all the more familiar. To this day, his short concert pieces for violin and piano, written at the start of the twentieth century especially for beginners on the instrument, have maintained their place in lessons and class recitals. Restricted to the first position, the b-minor Concerto, op. 35, is ideal for beginners. For this Urtext edition, based on the first printing, editor Annette Oppermann received talented support the Slovenian Rieding specialist Maruša Zupan i contributes an interesting preface on the little-known composer.

Works for Violin and Piano

This substantial volume contains all of the works that Tchaikovsky composed or arranged himself for Violin and Piano. The three larger Violin works opp. 26, 34, and 42, which G. Henle Publishers also offers inindividual practical editions, are particularly well-known and popular. By contrast, the three brief single movements with which Tchaikovsky presents charming adaptations of his own pieces promise to be genuinediscoveries. Tchaikovsky’s Violin works have long suffered under corrupt musical editions heavily reworked later by violinists all the more important, therefore, that the editor responsible for thisUrtextedition is Russian Tchaikovsky specialist Alexander Komarov. He consulted all of the relevant original sources in international archives, thereby guaranteeing the highest reliability of this musical text. Ingolf Turban, aViolin virtuoso of the first order, supplied stylistically appropriate markings in the Violin part.

Sonata For Cello & Piano In F Major : Sonata for Piano and Violoncello in F major op. 99

Brahms’ cello sonatas are probably amongst the most beautiful that has ever been written for this instrument. The publication of the two works in the new Brahms Complete Edition has prompted us to publish a new Urtext edition of the Sonata in F major. This classic work in our catalogue (to date HN 19) has now been newly engraved and reflects current scholarly findings. Johannes Behr has also provided extensive details regarding its genesis and the edition. Both the piano and cello parts have fingerings, but there is also an unmarked part for the cello.

Andante in C major for Horn and Piano

In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece. In the summer of 1888, while also working on his tone poem Don Juan, Richard Strauss composed this brief Andante for his father, Franz Strauss, a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement “of a still unfinished” sonata that Strauss, however, never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers, the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece.