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Robert Schumann: Exercices - Studies On A Theme By Beethoven

An Urtext edition of Robert Schumann's Exercices - Studies On A Theme By Beethoven, as edited by Robert Munster.

Franz Schubert: Variations On 'Trockne Blumen' D.802 (Urtext Edition)

A highly authoritative Urtext edition of Franz Schubert's Variations On 'Trockne Blumen' D.802 Op. post.160 for Flute and Piano, as edited with critical commentaries by Wolf-Dieter Seiffert, and fingered by Klaus Schilde.

Béla Bartók: Improvisations On Hungarian Peasant Songs Op. 20

After his 15 Hungarian peasant songs (HN 1404), these Improvisations on Hungarian peasant songs are the second of Bartók’s works to feature the words “Hungarian peasant songs” in their title. The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók himself as venturing to “the outermost limits”. He also breaks up the song structures so radically into their constituent motives that the title “improvisations” best conveys his approach to this folk music. The musical text of this Urtext edition, edited by Bartók expert László Somfai, is taken from the relevant volume of the Bartók Complete Edition. Comments at the close of this edition offer important hints on performance practice.

Wolfgang Amadeus Mozart: 10 Variations on "Unser dummer Pöbel" KV 455

It is said that in a recital given on 23 March 1783 with the celebrated composer Christoph Willibald Gluck most likely in attendance, Mozart improvised variations on the song “Unser dummer Pöbel meint” from Gluck’s Singspiel Die Pilgrime von Mekka. He later put them to paper and had them printed three years later. It is quite possibly Christoph Willibald Gluck’s celebrity that was responsible for K. 455 being one of Mozart’s musically most demanding variation cycles.

W.A. Mozart: 12 Variations On 'Ah, Vous Dirai-je Maman' K.265

W.A. Mozart's 12 Variations On 'Ah, Vous Dirai-je Maman' K.265 as edited by Ewald Zimmermann and fingered by Walther Lampe, with preface by Ulrich Konrad.

Ludwig Van Beethoven: Variations On Folk Songs Op.105 And 107 (Urtext Edition)

An authoritative urtext edition of Beethoven's Variations On Folk Songs, Op.105 and 107 for Flute and Piano, edited by Armin Raab.

W.A. Mozart: 9 Variations On A Minuet By Duport KV. 573

It is said that in a recital given on 23 March 1783 with the celebrated composer Christoph Willibald Gluck most likely in attendance, Mozart improvised variations on the song “Unser dummer Pöbel meint” from Gluck’s Singspiel Die Pilgrime von Mekka. He later put them to paper and had them printed three years later. It is quite possibly Christoph Willibald GlIn April and May 1789, Mozart, along with Prince Lichnowsky, undertook a journey via Dresden and Leipzig to Berlin, where he presumably played before the Prussian King Friedrich Wilhelm II. No doubt as a friendly homage to the royal chamber music director and cellist Jean-Pierre Duport, he anticipated his meeting by writing during the journey nine variations on a Minuet, also by Duport. Today they belong among Mozart’s most beloved variation cycles. uck’s celebrity that was responsible for K. 455 being one of Mozart’s musically most demanding variation cycles.

Joseph Haydn: Variations On The Hymn "Gott Erhalte" Version For Piano

Haydn only made Piano arrangements of his own works in very special cases. The popularity of his hymn Gott erhalte Franz den Kaiser (God Save Emperor Francis) did not simply occasion him to write the famous movement for the Emperor Quartet op. 76.3. He also later made an arrangement of these variations for Piano. He might have done so following the wishes of the publisher Artaria. Henle now present a new edition of Haydn's arrangement on the basis of the recently revised volume of Piano Pieces. Furthermore, the edition opens with a facsimile of the Emperor's hymn.

Robert Schumann: Variations On A Theme In E-Flat (Ghost Variations)

It was in February 1854, a few weeks before Robert Schumann’s admission to the psychiatric hospital in Endenich, that he wrote his variations on a theme in E-flat major. Because of the extraordinary, personal and moving events of those days, Clara Schumann guarded the manuscript pages of her husband’s final piano composition, dedicated to her and later called “Ghost Variations,” like relics, and prohibited their publication. The first edition was not published until 1939, and in many respects does not correspond with what Schumann actually wrote down. For the first time, the Henle Urtext edition draws upon all the available primary sources, and thus is effectively the onlyreliable Urtext edition of a work that in recent years has been heard with increasing frequency.

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

When Haydn stopped in Passau on his second journey to England, he heard a vocal version of his own orchestral work The Seven Last Words. It had been made by the Kapellmeister at Passau cathedral Joseph Friebert and Haydn was quite impressed ? except: "I believe I could have done the voice parts better". He acquired a copy and set about making his own vocal version, taking over most of the text. Haydn particularly liked his own vocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.

Franz Schubert: The Shepherd on the Rock (Henle Urtext Edition)

For Voice, Clarinet and Piano, in the original key. With separate sheets for all parts.

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

At the end of the 18th century, the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ?s hour of death; its focal point was the reading and interpretation of Christ?s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success, the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part, only a few changes had to be made to the string parts. Here is the Henle Urtext Study Score of Joseph Haydn's The Seven Last Words of Christ arranged for String Quartet, based upon on the musical text of the Haydn Complete Edition.Also available as part of a 12 part set including all Haydn's works for String Quartet, Cat. No. HN9216

Niccolo Paganini: 60 Variations on Barucabà for Violin and Guitar op. 14

Max Reger: Fantasy and Fugue on B-A-C-H op. 46

“For me, Sebastian Bach is the be-all and end-all of music; true progress lies and resides in him alone.” It was with these programmatic words that Max Reger prefaced his answer to a survey “What does Johann Sebastian Bach mean to me, and what is his significance for our time?”, posed by the editors of a magazine in 1905. Reger had already proven his adoration of Bach with his magnificent homage to the composer, written and published in 1900 and probably the best-known of his works for Organ. It is an established work in the concert repertoire of well-known virtuosi, but is also increasingly being performed by ambitious church musicians. Henle has now published this sea of notes and performance directions in an edition with a particularly clear and readable text.

Franzosische Violinmusik Der Barockzeit

Two lots of seven violin sonatas from the heyday of the 18th century French Violin School: Whoever plays these sonatas (with basso continuo), will go on a voyage of discovery to a musical continent that is today mainly visited by specialists. But it is worth it! All of these sonatas appeared in much sought after publications of the time and were played across Europe. The editor of both of these Urtext editions, Gisela Meyn-Beckmann, is a renowned connoisseur of the repertoire and has ensured that there is a great deal of variety. The artistic consultant and violinist Erno Sebéstyen, who provided the fingerings and bowings for the solo part, provides valuable, individualsuggestions for performing them.

Franz Liszt: Prelude and Fugue on B-A-C-H for Organ (Urtext)

Liszt komponierte dieses virtuose Werk für die Einweihung der renovierten Orgel im Merseburger Dom. Das Manuskript wurde jedoch erst nach dem Festkonzert fertig, die Erstausgabe erschien um 1859 in Holland. Heute wird das Werk vor allem in seiner zweiten Fassung von 1872 gespielt, die Liszt auf Anregung seines Schülers A. W. Gottschalg erarbeitete. Gottschalg überzeugte den Komponisten, die technischen Anforderungen etwas zu vereinfachen, was den Intentionen des späten Liszt entgegenkam. Unsere Urtextausgabe bringt diese Fassung von 1872; der Anhang enthält darüber hinaus eine Ossia-Version der Takte 130 ?166. Im Textteil werden die Änderungen Liszts gegenüber der ersten Fassung kommentiert.

Wolfgang Amadeus Mozart: 12 Variations on "Ah, vous dirai-je Maman" KV 265 (300e)

Franz Liszt: Hungarian Rhapsody No.15 - Rákóczi March

The Rákóczi March is often referred to as the "Hungarian Marseillaise". The beginnings of this march song go back to around 1730. In the text, the Hungarians summon Franz II Rákóczi to free his people from the Habsburg oppression. The melody has been arranged many times, e. g. by Brahms and Berlioz, even Liszt made several arrangements of varying degrees of difficulty. He eventually did a "concert arrangement" of the theme in his highly virtuosic Hungarian Rhapsody No.15. This Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.

Max Reger: Variations and Fugue On A Theme By J.S. Bach Op.81 (Henle Urtext Edition)

The variation cycle and the fugue are genres in which Max Reger developed a special mastery. Thus one can speak of Reger’s unique Bach Variations op. 81 as the culmination of his piano oeuvre, offering everything that is typical and characteristic of Reger’s style. No other piano work by this great Bach admirer can measure up to this monumental composition in terms of sheer size and inner weight. Written in Munich in 1904, the Variations are considered challenging to play and difficult to comprehend, but aspiring pianists should not let themselves be deterred by this legend. Behind the complex notation are a clear structure and a wealth of expression. Technical complexity andaesthetics here correlate in an almost classical manner.

J.S. Bach: Two Part Inventions

Bach's Two Part Inventions 1-15, included in this edition, were a part of what Bach described as his "honest method by which amateurs of the keyboard - especially, however, those desirous of learning - are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." This Urtext edition makes use of the latest research, and thus is as accurate as possible. Those wishing to go on to three parts using this method may also consider Bach's Sinfonias (Three Part Inventions) HN1360.

Johann Sebastian Bach: Suites, Sonatas, Capriccios, Variations

Apart from the major cycles (partitas, French and English suites), a whole series of separate keyboard suites by Bach have come down to us, including individual sonatas or sonata movements, variations, and fragments of various sorts called Capriccios. None of them reached the degree of popularity of the aforementioned large collections. Most of them go back to Bach’s youth and student years, to wit, to the years between 1700 and 1710, and do not yet reach the mastery of the later years. However, this is compensated by the enormous joy one derives in playing these works.

Max Bruch: Violin Concerto In G Minor Op.26

It made its creator world-famous and added a towering masterpiece to the standard repertoire: Max Bruch ’s First Violin Concerto In G Minor . Now it’s appearing at last in an urtext edition from Henle. Bruch himself was not always overjoyed at his work’s popularity: "I can’t listen to this concerto anymore," he once complained to his publisher Simrock, "do you suppose I’ve only written one concerto?" By now the Bruch Concerto has found a permanent place in the world’s concert halls. Henle’s edition provides not only a razor-sharp urtext for the solo part, but a preface that alone is worth the price of the volume: who could have guessed that the concerto went through a convoluted genesis with multi-layered revisions, and that some of the changes go back to the famous violinist Joseph Joachim?

Georges Bizet: Jeux D'Enfants Op. 22

Georges Bizet was not eminent as a piano composer, for the number of his piano works is small and not very substantial in terms of form, content and character. Yet there is an exception: the “Jeux d’enfants” for piano four hands from 1871. In this loosely-connected series of twelve short and very terse genre pieces Bizet crafted a charming masterwork. With an unpretentious simplicity that is full of French ‘esprit’, he creates a unique and distinctive mood in each of the miniatures and the textural-harmonic means employed already point in the direction of Ravel and Debussy! Unfortunately, much of his compositional audacity was smoothed out in the first edition of 1872, makingit all the more important that our Urtext edition also takes Bizet’s autograph into account. The preface and comments go into detail about all the discrepancies of the first edition, thereby offering a fascinating glimpse into publishing history.

Frederic Chopin: Mazurken - Kritischer Bericht

A critical report on Chopin's Mazurka's.

Italian Violin Music Of The Baroque Era Volume 1

Instrumental virtuosity and the new impulses of baroque thought are to be found in the solo sonatas that came into being in Italy from the early decades of the 17th century. Both aspects have been taken into account when selecting pieces for this interesting collected edition of Italian violin music of the baroque era. The first volume concentrates on two groups: on the one hand on Corelli in Rome, Torelli in Bologna and Veracini in Florence, and on the other, on the three famous representatives of the last generation of Italian baroque composers Geminiani, Tartini and Locatelli whose sphere of influence extended from Padua via Amsterdam to England. All the works have beenedited on the basis of the original sources, and therefore provide, in the tried and tested Urtext manner, a clear view of these baroque treasures. The preface gives explanatory notes on performance practice and basso continuo realization, and a list of variant readings rounds off this well-researched Urtext edition.