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Isaac Albéniz: Three Improvisations 1903

Isaac Albéniz: Three Improvisations 1903

The only surviving original recording of Albéniz' Piano playing is from 1903. On a visit to Ruperto Regordosa Planas he had sat down at the former's Piano and improvised three short pieces. Planas recorded the music on a phonograph cylinder. The pieces were, however, never written down on paper. With the help of modern technical resources, Milton Laufer, an expert on Albéniz, has been able to carefully reconstruct the musical text. This first printing of the transcription thus enables us to have a unique "peep through the keyhole" into the workshop of the gifted pianist and composer. As a little extra, we have included this fascinating recording on a CD with the first issue of this printing.

SEK 287.00
1

Felix Mendelssohn: Variations op. 17 and Other Pieces for Piano and Violoncello

Felix Mendelssohn: Variations op. 17 and Other Pieces for Piano and Violoncello

Besides two genuine Cello "hits" from the pen of Felix Mendelssohn Bartholdy – the " Variations Op. 17 " and the " Song Without Words Op. 109 " – this urtext edition contains a little sensation: the première publication of a delightful and previously unknown original piece for Cello and Piano. Mendelssohn wrote it down in the album of his friend, the distinguished cellist Julius Rietz, in 1835 while at the pinnacle of his creative powers. All cellists will be happy to welcome this "Album Leaf" into their repertoire.

SEK 314.00
1

Franz Anton Hoffmeister: Viola Concerto In D (Violin and Piano)

Franz Anton Hoffmeister: Viola Concerto In D (Violin and Piano)

Along with the Stamitz concerto, Hoffmeister ‘s Viola Concerto is the most important audition piece for Viola players. Yet, it has been handed down in a complicated source tradition, surviving in a single contemporary manuscript covered with many layers of markings. Our Piano reduction reconstructs, for the first time, the earliest textual layer in this source, thereby coming as close as possible to Hoffmeister ‘s actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!

SEK 261.00
1

Johann Sebastian Bach: Suites, Sonatas, Capriccios, Variations

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.

SEK 457.00
1

J.S. Bach: Fantasien, Praludien Und Fugen (Urtext)

J.S. Bach: Fantasien, Praludien Und Fugen (Urtext)

In contrast to the large collections of partitas, along with the French and English Suites, Bach’s Fantasies, and his Preludes and Fugues besides the Well-Tempered Clavier have not come down to us as interconnected cycles. Perhaps this is one of the reasons why only few of these works gained widespread popularity. Only the much-acclaimed Chromatic Fantasy and Fugue BWV 903/903a and the great c-minor Fantasy BWV 919 have found a permanent place in pianists’ concert repertoires. Some of the works compiled in this volume are undoubtedly juvenilia that do not yet hint at the mature Bach whilst nevertheless pointing out the composer’s fresh power of invention.

SEK 457.00
1

Liszt: Wenn Die Letzten Sterne Bleichen Lied Voice & Piano Facsimile

Liszt: Wenn Die Letzten Sterne Bleichen Lied Voice & Piano Facsimile

The Bavarian State Library in Munich made a quite sensational discovery in 2007: a previously unknown Lied for Voice (soprano) and Piano by Franz Liszt was found, which he had written down himself. The work shows Liszt at his best; it was composed in 1843 and dedicated to Count Franz von Pocci from Munich. This was a good enough reason for Henle Publishers to publish the manuscript in the form of a high-quality facsimile, which also contains the music in modern music print and extensive information concerning the fascinating circumstances of its genesis. A true delight for all connoisseurs and lovers of Franz Liszt.

SEK 738.00
1

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

Bach’s six violin soli have come down to us in a particularly beautiful fair copy made by the composer himself. They, along with the six cello suites, are regarded as musical and technical milestones of musical literature. Bach skillfully employs the resources of the violin to produce genuine polyphony in some sections through the use of arpeggiated chords and double stops. The culmination of these achievements is the famous Chaconne from the second Partita, which achieves great musical density while presenting the violinist with previously unheard-of technical challenges. The part marked by Wolfgang Schneiderhahn accommodates practical use and includes suggestions foraccords and arpeggios.

SEK 234.00
1

Isaac Albeniz: Mallorca Op.202 (Henle Urtext Edition)

Isaac Albeniz: Mallorca Op.202 (Henle Urtext Edition)

As with his famous “Asturias”, Albéniz ’ transcription of “ Mallorca ” for Guitar became a great deal more popular than the original version for Piano. He probably composed this tender, dreamy “barcarolle” during his second trip to Mallorca in May 1890. In so doing, he remained faithful to his penchant for portraying regions of his native land in music. Enrique Granados, who admired Albéniz as a friend and patron, is said to have sat down at the Piano when the composer was on his deathbed and greatly moved him with a rendering of “ Mallorca ”. Today’s pianists can play this sophisticated work in an edition with superb engraving which also displays Henle’s customary faithfulness to the musical text.

SEK 149.00
1

Antonín Dvorák: Slavonic Dances Op.72 - Piano Four-Hands (Henle Urtext)

Antonín Dvorák: Slavonic Dances Op.72 - Piano Four-Hands (Henle Urtext)

With the publication of the second volume, all of the ?Slavonic Dances? are now available in Urtext. Following the resounding success of the first series op. 46, which immediately made the composer famous around the world, the publisher urged him to write more. Dvo?ák only got down to work on them eight years later, announcing, ?I think, these will be very different?. And indeed, the difference cannot be missed: the second series is singled out by greater formal freedom and more colourful harmony. Whereas Opus 46 is for the most part characterised by sparkling high spirits (HN757), in Opus 72 there are also quieter notes: melancholy and poetry find their way into the exuberant dance.

SEK 271.00
1

Johannes Brahms: 51 Exercises For Piano

Johannes Brahms: 51 Exercises For Piano

Teaching the Piano was an important source of income for Brahms, as it was for many nineteenth-century composers. This gave rise to collections of exercises which at first he only occasionally wrote down, but later shared with other pianists (e. g. Clara Schumann). It was only after he had largely given up this educational and pianistic activity that he considered publishing them. In order to reflect their level, he suggested "all kinds of instruments of torture, from the thumb screw to the iron maiden" for the title page. We are now publishing this collection, which is essential for Romantic Piano playing, as an Urtext edition, following the musical text of the New Brahms Complete Edition.

SEK 340.00
1

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

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.

SEK 165.00
1

Johann Sebastian Bach: Sonatas for Violin and Piano (Harpsichord) 1-3 BWV 1014-1016

Johann Sebastian Bach: Sonatas for Violin and Piano (Harpsichord) 1-3 BWV 1014-1016

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol,supplemented by further sources. Additional text-critical comments round off this valuable Urtext edition.

SEK 367.00
1

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

After a twelve-year interval, Dvořák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where a group of Czech immigrants had settled, thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation of birdcalls. Since the first performances, certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans, which led to the soon popular work being called the “ American Quartet ”. For the first time since 1955, the Quartet is once again being published in an Urtext edition.

SEK 234.00
1

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

After a twelve-year interval, Dvořák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where a group of Czech immigrants had settled, thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation of birdcalls. Since the first performances, certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans, which led to the soon popular work being called the “American Quartet”. For the first time since 1955, the Quartet is once again being published in an Urtext edition.

SEK 155.00
1

Johannes Brahms: Sonatas for Piano and Violin

Johannes Brahms: Sonatas for Piano and Violin

Johannes Brahms began to manifest a keen interest in the genre of the violin sonata at an early age. In fall 1853 he offered the Leipzig publisher a violin sonata in a minor. The work was turned down, however, and the self-critical Brahms must have destroyed it himself later. He ultimately wrote his three major sonatas during his years of maturity: op. 78 in the summers of 1878/79, opp. 100 and 108 in the summer of 1886. The Scherzo in c minor was Brahms’ contribution to the violin sonata which he composed jointly with Robert Schumann and Albert Dietrich in 1853 as a surprise gift for the violinist Joseph Joachim, and which is known under the name “F. A. E. Sonata.”With its sharp contrasts between the furious Allegro and emotional Più moderato sections, the Scherzo piece is a beloved bravura showcase.

SEK 696.00
1

Franz Schubert: Werke Fur Klavier Zu Vier Handen - Band I

Franz Schubert: Werke Fur Klavier Zu Vier Handen - Band I

No other great composer has left so many works for piano four-hands as Franz Schubert altogether 54 (32 of these with opus number): fantasies, dances, marches, variations, rondos, sonatas etc. Playing music together, often in a social circle, was a precious pastime of Schubert’s circle of friends. The young composer provided the musical background for these rousing concerts and exuberant performances. The pieces are chronologically arranged in the three Henle Urtext volumes showcasing Schubert’s piano duets. Volume I contains three very early pieces from the years 1810 to 1813, the other works stem predominantly from the greater part of the year 1818, and which include thesplendid Grande Sonate in B flat major D 617. The final section is comprised of two pieces from works that are chronologically difficult to situate and to lay down an exact time of origin, one of these, Allegro Moderato und Andante, D 968, was occasionally also designated as “Sonatine” and was written most probably for instructional purposes.

SEK 611.00
1

Franz Schubert: Works for Piano four-hands, Volume I

Franz Schubert: Works for Piano four-hands, Volume I

No other great composer has left so many works for piano four-hands as Franz Schubert altogether 54 (32 of these with opus number): fantasies, dances, marches, variations, rondos, sonatas etc. Playing music together, often in a social circle, was a precious pastime of Schubert’s circle of friends. The young composer provided the musical background for these rousing concerts and exuberant performances. The pieces are chronologically arranged in the three Henle Urtext volumes showcasing Schubert’s piano duets. Volume I contains three very early pieces from the years 1810 to 1813, the other works stem predominantly from the greater part of the year 1818, and which include thesplendid Grande Sonate in B flat major D 617. The final section is comprised of two pieces from works that are chronologically difficult to situate and to lay down an exact time of origin, one of these, Allegro Moderato und Andante, D 968, was occasionally also designated as “Sonatine” and was written most probably for instructional purposes.

SEK 886.00
1

Ludwig van Beethoven: Piano Trios, Volume III

Ludwig van Beethoven: Piano Trios, Volume III

In the Classical period, and well into the 19th century, piano trios were something of a musical fashion accessory. There was thus good reason for Beethoven also to engage with the genre, following the example set by Haydn and Mozart. He left 13 piano trios in all. +B107The works contained in Volume III almost all present a few peculiarities: opus 44 is also not a complete trio, for instance, but consists of only one single variation movement! WoO 37, written while Beethoven was still in Bonn, is striking for its scoring (piano, flute and bassoon). He wrote WoO39 for Maximiliane, youngest daughter of the Brentano family, “to encourage her piano playing”. Op. 38 is anarrangement of the Septet op. 20 for piano, clarinet and violoncello, and the last piece has come down to us only in one sketchbook from Beethoven’s Bonn period. None of these works has the weight of Beethoven’s major piano trios, nevertheless, they remain witnesses to his supeme artistry.

SEK 696.00
1

Johann Sebastian Bach: Sonatas no. 4 - 6 for Violin and Piano (Harpsichord) BWV 1017-1019

Johann Sebastian Bach: Sonatas no. 4 - 6 for Violin and Piano (Harpsichord) BWV 1017-1019

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol.The Sonata in G Major BWV 1019 exists in quite varying versions, each with different individual movements. For this reason, two older versions of the Sonata are published here in an appendix, making this Urtext edition especially valuable for Bach enthusiasts too.

SEK 367.00
1

Antonín Dvorák: Piano Concerto g minor op. 33

Antonín Dvorák: Piano Concerto g minor op. 33

Written in one fell swoop and polished for ages: thus arose one of the most significant works of Czech piano music. Dvorák’s G-minor Piano Concerto was composed in barely two months in 1876 only to be refined for more than seven years before it finally appeared in print. As a result, Dvorák’s handwritten score abounds in changes and corrections. The 141-page autograph bears impressive witness to the work’s extraordinarily difficult gestation. Besides the original text, it contains annotations in lead, red and blue pencil as well as red ink, not to mention many passages hidden beneath pasted slips of paper. Until 1990 the score was owned by Dvorák’s heirs. At the instigation of thepianist András Schiff and with his generous financial support we can now present the first complete facsimile edition of this exhilarating document in a high-quality reproduction that uncannily resembles the original to the last jot. Readers are invited to track down and follow the stages in the work’s genesis. An ideal gift for the “Dvorák Centenary Year” in 2004 … and of course there after as well.

SEK 1692.00
1

Franz Joseph Haydn: Concerto for Piano (Harpsichord) and Orchestra G Hob. XVIII:4

Franz Joseph Haydn: Concerto for Piano (Harpsichord) and Orchestra G Hob. XVIII:4

In contrast to Mozart, Haydn was not a keyboard virtuoso. He certainly conducted his orchestral works from the harpsichord, and also performed his own piano sonatas, but any ambition to be a concertizing pianist was foreign to his nature. Thus “only” three piano concertos by Haydn have come down to us. The Concerto for piano and string orchestra Hob. XVIII:4 is full of spirit and the joy of playing. We know neither the occasion for which it was written, nor the year of its composition, the extensive preface to our edition of the playing score, with one string part each, discusses this in detail. As in the sources of the time, the solo part here also includes the bass line (withfigures) for tutti sections. Axel Ruoff makes suggestions for the solo cadenzas required in movements 1 and 2, Haydn composed the cadenza for the concluding Rondo movement. This Urtext edition is based on the musical text of the Haydn Complete Edition, which is likewise published by G. Henle Publishers. The trade press applauds it: “In view of the scarcity of easier piano concertos, one can be thankful for this new edition, especially since it can be presented with a very small orchestra, perhaps even with a string quartet.”

SEK 584.00
1