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Klaviersonate Nr. 6 F-dur Opus 10 Nr. 2 : Piano Sonata no. 6 in F major op. 10 no. 2

After composing the three Piano Sonatas op. 2 between 1794/95, Beethoven presumably planned a further trilogy without delay. Because of its enormous scope, the Grande Sonata op. 7 was removed from this new project and published separately. But by the beginning of 1798, the next group of three, the Sonatas in C minor, F major, and D major, had already been completed and it was published in Vienna that year as opus 10. Like the Sonata in C minor, op. 10 no. 1, the Sonata in F major has only three movements, diverging from the four-movement model established in opuses 2 and 7 - the result of intensive experimentation with different variants of the minuet, all of which would ultimately be discarded. Beethoven’s autograph manuscripts for opus 10 no longer survive, leaving the team Perahia/Gertsch to turn primarily to the first edition. As always, our edition has an extensive commentary and proven fingerings by Murray Perahia.

6 Sonatas For Piano And Violin op. 10 : 6 Sonatas for Piano and Violin op. 10 (b)

Weber composed an incredible array of compositions in his rather short but at the same time tireless life. Many of them have still to be discovered. The Six Violin Sonatas op. 10 (b), composed in Darmstadt in 1810, are most certainly amongst them. The individual movements are rather short and also not particularly difficult technically. The music is, on the other hand, all the more compelling, which is partly due to the various integrated dance forms: “Carattere Espagnuolo” and “Air Polonais” in Sonata No. 2, “Air Russe” in No. 3, “Siciliano” in No. 5 and a “Polacca” in No. 6.

Paganini-Studies Op. 3 And Op. 10

Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others, Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit, based very closely on Paganini’s original and following their educational intention. Opus 10, on the other hand, deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution, which heplaced at the beginning of his Opus 3.?

Piano Sonata no. 5 in c minor op. 10,1 : Piano Sonata no. 5 in c minor op. 10 no. 1

Decisive and manly,” most profound sentiment and delicacy,” and imaginative humour” – thus does Beethoven’s contemporary Carl Czerny accurately describe the three movements of this expressive sonata. As no autograph manuscript has survived, the first edition of the three sonatas op. 10, published in Vienna in 1798, forms the sole basis for the revised Urtext edition of the Sonata in c minor. Yet another jewel stemming from the collaboration between Beethoven specialist Norbert Gertsch and star pianist Murray Perahia.

Acht Gedichte op. 10

Acht Gedichte op. 10

Haydn Studies 10 Cover

Concerto for Violin, Violoncello and Orchestra : Op. 102

Brahms Complete Edition, Series I, Volume 10 Clothbound

Haydn Studien Band 10 Heft 2 : Haydn Studies Vol. 10 No. 2

Haydn Studien Band 10 Heft 1 : Haydn Studies Vol. 10 No. 1

Piano Sonatas Nos. 1-10

In the years 2001-2014, G. Henle Publishers issued Urtext editions of the ten piano sonatas by Alexander Scriabin. The Scriabin specialist Valentina Rubcova from Moscow, the editor of these ten editions, studied all of theavailable sources for each work. In many cases, Henle's were the first-ever Urtext editions, offering these highly complex musical texts in an immaculate, uncluttered, newly engraved format that was truly a landmark event! Whoeverwould like to study all these ten sonatas can now buy them in a single volume, enabling them to trace Scriabin's development from his Romantic early oeuvre to his mystical late works. This is an edition that belongs in the libraryof every discerning pianist!

Streichquartett Nr. 2 op. 10 mit Sopranstimme

Symphonies 1780-81 : Reihe I, Band 10

Haydn Studien Band 10 Heft 3/4

Streichquartett Nr. 2 op. 10 mit Sopranstimme

Theory of Music in Arabic Writings Band II

Descriptive Catalogue of Manuscripts in Libraries of Egypt, Israel, Morocco, Russia, Tunisia, Uzbekistan, and Supplement to Vol. 10.

Acht Gedichte Opus 10 für Singstimme und Klavier : Originaltonarten für hohe Stimme

Written in 1885, the eight songs after texts by the now little-known poet Hermann von Gilm have a special place in Richard Strauss’ corpus of Lieder. For the first time, he composed an entire set of songs on texts by a single poet, collecting them into one opus that was also to appear in print. Some of the numbers in it, like “Zueignung,” “Die Nacht,” and “Allerseelen,” are among the most popular Strauss songs of all time, but the entire cycle with its well-planned structure is also worthy of closer examination and performance. The aspiring composer quite consciously aligns himself with the tradition ranging from Schubert to Wolf, choosing the highly Romantic subject of unrequited love and illuminating its most diverse facets. The primary source for the Henle Urtext edition is the first edition from 1887, which Strauss furnished with a dedication to the Royal Bavarian chamber singer Heinrich Vogl - a serious invitation to today’s male singers not to leave these wonderful Strauss songs solely to female singers!

KBM 10 Kollegiatstifte Laufen und Tittmoning, : Pfarrkirchen Aschau, Berchtesgaden, Neumarkt-St.Veit und Teisendorf

KBM 14/10 Sammlung Mettenleiter, Autoren Q bis Z : Catalogues of Music Collections in Bavaria

Streichquartett Nr. 2 op. 10 mit Sopranstimme : Piano reduction of the 3rd and 4th movement

Sonatas, Scherzo and Ballads pb

With opuses 1, 2, 4, 5, and 10, this volume contains virtually all of Johannes Brahms’ early piano oeuvre, with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann, leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year, the Four Ballades op. 10 complete the volume. Already they strike a new, more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult, and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition, with an extensive preface by editor Katrin Eich. With opuses 1, 2, 4, 5, and 10, this volume contains virtually all of Johannes Brahms’ early piano oeuvre, with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann, leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year, the Four Ballades op. 10 complete the volume. Already they strike a new, more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult, and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition, with an extensive preface by editor Katrin Eich.

Sonatas, Scherzo and Ballads pb

With opuses 1, 2, 4, 5, and 10, this volume contains virtually all of Johannes Brahms’ early piano oeuvre, with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann, leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year, the Four Ballades op. 10 complete the volume. Already they strike a new, more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult, and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition, with an extensive preface by editor Katrin Eich. With opuses 1, 2, 4, 5, and 10, this volume contains virtually all of Johannes Brahms’ early piano oeuvre, with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851–53 as a substantial single movement that particularly delighted Robert Schumann, leading him to direct the public’s special attention to his young colleague in his famous article “New Paths” in 1853. Written the following year, the Four Ballades op. 10 complete the volume. Already they strike a new, more Romantic note that Brahms described to Clara Schumann thus: “They are not very difficult, and even less difficult tounderstand”. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition, with an extensive preface by editor Katrin Eich.

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.

Two Easy Piano Sonatas : Nos. 19 And 20 Op. 49

The two piano sonatas op. 49, described in their first publication as Sonates faciles, are often the first-ever Beethoven sonatas with which advanced piano pupils can demonstrate their ability. Their relatively high opus number ismisleading, however, for both these two-movement works were composed at roughly the same time as the piano sonatas op. 10, between 1796 and 1798. The fact that they were actually published seven years later is presumably thanks tothe business dealings of Beethoven's brother Carl, who initially offered them to several publishers without success. Finally, in 1805, a Viennese publisher relented and accepted them not yet aware of the treasures that had falleninto his lap. These little masterpieces, cast in an easily manageable format, soon became highly popular. This Henle Urtext edition continues our successful revised series of Beethoven's sonatas under the auspices of MurrayPerahia and Norbert Gertsch.

Sämtliche Klavierwerke Band 2

To commemorate the 200th anniversary of Robert Schumann’s birth, an ambitious project has been realized in 2010: For the first time since Clara Schumann’s Complete Edition of 1879 93, all of the works for piano solo are appearing as one editorialproject. All of the Schumann titles published by G. Henle Publishers have undergone a careful revision by Schumann expert Ernst Herttrich who also added works previously missing from our catalogue. The complete piano works, comprising six volumes,are now available in paperbound or clothbound editions, as well as a study edition set in a slipcase. Clearly ordered by opus numbers, the complete edition includes not only all of Schumann’spiano works, revised to reflect the latest scholarlyfindings, but also informative commentary texts, alternative versions and many things more.Contents: Fantasiestücke op. 12 (mit Anhang: WoO 28), Paganini-Etüden op. 10- Sonate fis-moll op. 11- Allegro h-moll op. 8- Carnaval op. 9