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Richard Wagner: Spinning Song From 'The Flying Dutchman' (Arr. Franz Liszt)

Richard Wagner 's Spinning Song From 'The Flying Dutchman' arranged for Piano by Franz Liszt . Urtext edition. The Hungarian virtuoso pianist Franz Liszt arranged numerous works by other composers for his instrument, in particular excerpts from the operas by his friend and son-in-law Richard Wagner . Liszt turned to 'The Flying Dutchman' twice. Alongside Senta’s ballad he also made a brilliant transposition of the spinning chorus 'Summ und brumm, du gutes Rädchen' from Act 2 for the Piano. His Spinning Song bubbles over with brilliance and has to this day remained one of his best-loved transcriptions. When preparing this Urtext edition, Henle were able to consult the autograph score in Weimar as well as the composer’s own revisions in the archives of the publisher Breitkopf & Härtel.

W. A. Mozart: Piano Pieces From The 'Nannerl Music Book'

Piano Pieces From The 'Nannerl Music Book' contains 17 pieces composed by Wolfgang Amadeus Mozart when he was between five and eight years old. When W. A. Mozart 's sister Maria Anna Mozart, known as Nannerl, started receiving Piano lessons, her father gave her a music book in which he and others gradually wrote down little recital pieces. This book was soon passed on to her brother and, noticing his remarkable talent for composing, the children's father wrote down some of his son's first works in the book. This Henle Urtext edition is taken from the complete volume of Mozart’s Piano Pieces (HN22) and contains a new preface by the editor Ullrich Scheideler. The pieces in this volume are easy to play, making them ideal for beginners.

Air With Variations From Suite In E major

These variations are among Handel’s best-known keyboard works. The composer was allegedly inspired to create its unusual theme when, seeking refuge in a smithy’s shop from a sudden rain-shower, he heard the blacksmith singing a cheerful melody to the sound of his anvil. Handel used the theme with five variations as the closing movement of his fifth keyboard suite, which he published in 1720. With its catchy theme, the Harmonious Blacksmith variations enjoyed increasing popularity thereafter, including as an independent piece. The edition presented here uses Handel’s edition of the Suite as its main source (since he definitely checked it personally), along with the availablemanuscript sources.

J. S. Bach: Chaconne From Partita No.2 D Minor (Arr. Ferruccio Busoni)

J. S. Bach 's Chaconne From Partita No.2 D Minor , arranged by Ferruccio Busoni for solo Violin. The final movement in Bach 's Partita , the Chaconne in D Minor has inspired many highly-regarded composers over the years and there are several whom have sought to make this exceptional piece accessible for other instruments. Perhaps the best-known arrangement is by Ferruccio Busoni . Without distancing himself too greatly from Bach ’s original, he endeavors to transpose the virtuosity of the String writing onto the Piano. Thus Busoni wrote for the Piano in a way that congenially makes the most of the capabilities of the modern Piano. This Henle Urtext edition not only takes into account the traditional sources but also meticulously analyses a Piano roll in great depth on which Busoni himself can be heard. The fingerings are provided by none other than Marc-André Hamelin.

Lieder von der Mur-Insel : Songs from the Mur-Island, Little Pieces for Piano

The Serbian composer, conductor and university lecturer Marko Taj evi , who died in 1984, was one of the leading personalities in Yugoslavian musical life after 1945. His works are typically conceived for piano, and many inspired by the folk music of his nation. This also includes the 13 pieces of this volume, which skillfully transpose the traditional songs from the region between the rivers Drau and Mur in northern Croatia, and transform them into delightful little pieces.

Wandering : from Die schöne Müllerin D 795

Piano Album - From Bach to Gershwin : All-Time Favourites

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.

Five Famous Piano Sonatas

Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia. Five famous sonatas by Beethoven – all bearing a popular epithet known the world over – are presented to advanced pianists in this attractive volume of selected works from the new three-volume Urtext edition. These five pieces do not all number among the most difficult sonatas from Beethoven’s cosmos but do indeed demand an advanced keyboard technique. They reveal to every Beethoven enthusiast the multifarious spectrum of these impassioned compositions from his quill. This collection also features all the benefits of the editions stemming from the collaboration between Perahia and Gertsch: from extensive information on the genesis, publication, and source situation, to thefirst-rate fingerings by Maestro Perahia.

The Miller and the Brook : from Die schöne Müllerin D 795

Wedding Day at Troldhaugen op. 65 no. 6 : Single Edition from HN 1136

With his 66 Lyric Pieces Edvard Grieg created a multifaceted treasury of piano miniatures and character pieces. Many have become piano classics, none more so than The Wedding at Troldhaugen, which Henle publishers offers here in a separate edition. In this boisterous piece Grieg recalls a glittering celebration at the Villa Troldhaugen on the occasion of his silver wedding, something which attracted hundreds of guests and well-wishers. The fingerings by Norwegian Grieg specialist Einar Steen-Nøkleberg will be of help in mastering the fairly high-level technical challenges of this piece.

Piano Sonata In F Minor Op 5 Piano : revised single edition from HN 38

Johannes Brahms’s piano sonatas opp. 1, 2 and 5 were among the first works that the then 20-year-old composer published. Much of the music of the f-minor Sonata is closely connected to Brahms’s visit to Robert and Clara Schumann in Düsseldorf in the autumn of 1853. There are indications that the young Brahms was inspired by Robert Schumann’s Sonata op. 14 which was also in f minor. The music critic Eduard Hanslick also believed that he could discern the influence of Brahms’s older colleague when he wrote about the Sonata op. 5: “The whole of Brahms is here, though still under the spell of Schumann”. This revised Urtext edition is based on the musical text of the New BrahmsComplete Edition. The fingerings are by Andreas Boyde and offer the performer highly ingenious solutions to mastering this piano work that is so symphonic in scope.

Norwegian Peasant Dances [Slåtter] op. 72

Edvard Grieg used Norwegian folk music to help him develop his own Nordic tonal language, and this often gives his music a folk-like character. His “Peasant Dances” (“Slåtter”) op. 72 for piano first appeared in 1903. These pianistically rather demanding transcriptions of dances from a collection by Johan Halvorsen bear titles such as “John Wästaf’s Springing Dance”, “Bridal March from Telemark”, and “The Maiden from the Kivletal”. For pianists who want to become acquainted with folk-inspired Norwegian music other than Grieg’s well-known “Lyrical Pieces” or the “Norwegian Dances” op. 35, these sixteen tunes are highly recommended.

Phantasiestücke Opus 88 für Klaviertrio : Fantasy Pieces op. 88 for Piano Trio

The Fantasy Pieces op. 88 are Schumann’s first contribution to the genre of the piano trio and date from his very prolific “chamber music year” 1842. However, Schumann needed an unusually long time to give the work its final form:the Fantasy Pieces were released only in the autumn of 1850 after several revisions. The brevity and the modest technical demands of the four charming character pieces make them an ideal entry into the world of Schumann’s chambermusic also for non-professional musicians. The Fantasy Pieces, taken from the volume Schumann · Piano Trios HN 916, are now available from Henle for the first time also as a practical single edition.

Theory of Music from the Carolingian Era upto 1400 : Répertoire International des Sources Musicales Volume III,2

Descriptive Catalogue of Manuscripts (Part Italy)

Theory of Music from the Carolingian Era upto 1500 : Répertoire International des Sources Musicales Volume III,4

Descriptive Catalogue of Manuscripts (Parts Great Britain and United States of America)

Theory of Music from the Carolingian Era upto 1500 : Répertoire International des Sources Musicales Volume III,5

Descriptive Catalogue of Manuscripts (Parts Czech Republic, Poland, Portugal and Spain)

Danzas Espanolas

This Spanish composer wrote compositions for every genre, but the piano was undoubtedly his main focus. The 12 Danzas españolas, first published in four volumes between 1890 and 1895, are an important highlight in his earlyoeuvre. My inspiration is founded above all in the singing of the people, explained Granados. Nevertheless, [these dances] are quite original and are no mere transcriptions. They thus set themselves apart from the conventionalfolkloric pieces of the time, belonging instead in the tradition of the character pieces of Chopin or Schumann. Their rhythms and melodies borrow from dances from all over Spain, and thisis what gives them their unique atmosphere.All available sources were consulted for this Urtext edition, including Granados's own recordings.

Piano Variations Volume 1 Piano

Variation form occupied Beethoven throughout his composing career. This first volume of G. Henle Publishers’ two-volume edition of all his piano variations includes works from Beethoven’s time in Bonn as well as his early years in Vienna, composed between 1783 and 1799. Beethoven mostly took his themes from arias or songs from stage works that were popular at the time. Besides offering simple figurations around the melodic lines, he also made more radical variations of his chosen material, pointing the way forward to his future “character variations”. The musical text of this Urtext edition has been completely revised on the basis of the critical report of the Beethoven Complete Edition. There is also a detailed preface and commentary.

For Children Volume 1

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

Six Variations in F major op. 34

Like the “Eroica Variations” op. 35, the Variations op. 34, were composed in 1802 on an original theme. The “new fashion” Beethoven declared for both works to his publisher becomes apparent in opus 34 through the constant change of keys; from one variation to the next, new tone colours and moods continue to unfold, spanning the pastoral and the funereal, while the melody of the theme remains largely unaltered. For the first time, the Variations op. 34, are now available from Henle in a standalone edition. The musical text of the Urtext edition, with extensive foreword and commentary, was prepared on the basis of the later Critical Apparatus of the BeethovenComplete Edition. Here, too, the fingering comes from the esteemed hands of Ian Fountain.

For Children Volume 2

Long before his famous Mikrokosmos, Bartók composed a comprehensive collection of little piano pieces, entitled For Children. Written in 1908 1911, its two volumes are based on Hungarian and Slovakian folk tunes respectively. Both are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage. Bartók revised this collection in the 1940s. He did not just make musical improvements, but also gave every movement a title. This revised version forms the main text of our Urtext edition, while an appendix offers movements from the early version that diverge significantly from the revisedones. As always in Henle’s Bartók editions, there are indications regarding performance practice and insights into how the composer himself played these pieces.

Sonate F-dur Opus 6 für Violoncello und Klavier : Sonata in F major op. 6 for Violoncello and Piano

Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata op. 6 numbers among the most mature works of chamber music from Strauss’ early œuvre. The influences of Mendelssohn, Schumann, and Brahms are noticeable, while leaving sufficient space for a very personal tonal language, often with surprising rhythmic and harmonic turns of phrase. Strauss subjected the first version completed in early 1881 to a radical revision over the winter of 1882/83; the opening movement was thoroughly reworked, the two subsequent movements rewritten completely. It was worth it, because after the premiere in Dresden, the composer wrote to his mother, “My sonata garnered extraordinary acclaim, the applause was enormous, congratulations came to me from all sides.”

Wolfgang Amadeus Mozart: Klaviersonate C-Dur KV. 545

Who doesn’t know Mozart’s “Sonata facile” of 1788? Yet those who practice this extremely popular piano sonata in C major will realize that it is by no means so “easy” to play. Its nickname does not come from Mozart, but from the title page of the first edition, which was printed only posthumously. No cause for premature celebration, however: in his own autograph catalogue of works, Mozart himself identified it as “a little piano sonata for beginners.”

32 Variations In C-minor WoO 80

Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.Among the Variations on an Original Theme, WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations, its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition, with an extensive preface and commentary section, was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.