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Song Cycle op. 24 on Poems by Heine

At long last, singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version, edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber, Henle now offers baritones carefully arranged transpositions for low voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Song Cycle op. 24 on Poems by Heine

At long last, singers with a lower vocal range can also rely on Henle’s Urtext editions of Schumann: the wonderful Song Cycle op. 24 on poems by Heine now appears in a transposed version, edited by Schumann expert Kazuko Ozawa. With the support of celebrated Lieder accompanist Gerold Huber, Henle now offers altos carefully arranged transpositions for medium voice. This Urtext edition includes an extensive preface on the origin of the work and a detailed Critical Report on the edition. The original edition for high voice is available in HN 548.

Nine Songs Opus 5 : On Poems by Boris Sandler

A new work by cult pianist and composer Evgeny Kissin! These nine Yiddish poems were penned by his friend, the author and lyricist Boris Sandler (*1950). Kissin follows in his very folksong-like settings, which are easy for amateur music-lovers to sing and play, the prevailing mood of each poem, the titles of which - such as “Sternlein mit Mandeln” (Little stars with almonds), “Wenn der Kopf kein Topf ist” (When the head isn’t a pot), “Moschl-Kaposchl”, “Was weiss ich” (What do I know) - promise a subtle, cryptic and also entirely profound humour. This Henle edition presents the Yiddish song texts not only in Hebrew letters, but also transliterated into Latin characters, with an appendix additionally offering German and English prose translations of the poems.

Poet's Love Op. 48 : Song Cycle On Poems By Heine

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen, die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck, an event that took place only after years of struggle. The tried-and-tested Henle Urtext edition by the Schumann specialist Kazuko Ozawa is now also available for singers with low voice: in close collaboration with the experienced pianist and renowned Lied accompanist Gerold Huber, we have adapted the whole cycle, including the four songs of the appendix, for medium and low voices.

Poet's Love Op. 48 : Song Cycle On Poems By Heine

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen, die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck, an event that took place only after years of struggle. The tried-and-tested Henle Urtext edition by the Schumann specialist Kazuko Ozawa is now also available for singers with medium voice: in close collaboration with the experienced pianist and renowned Lied accompanist Gerold Huber, we have adapted the whole cycle, including the four songs of the appendix, for medium and low voices.

W.A. Mozart: Violin Concerto No.3 In G K.216 (Violin/Piano)

An Urtext edition of W.A. Mozart's Violin Concerto No.3 In G K.216, as edited by Wolf-Dieter Seiffert, with Piano reduction by Siegfried Petrenz, and fingering, bowing, cadenzas and lead-ins by Kurt Guntner.

Edvard Grieg: Lyric Pieces Volume 5 Op.54

An Urtext edition of the fifth volume of Edvard Grieg's Lyric Pieces, the Opus 54, have been edited by Enrst-Gunter Heinemann, with fingering by Einar Steen-Nokleberg.

Three Movements For Piano Trio : Fragments K. 442

Mozart often began work on a composition only to put it aside, unfinished. Some of these fragments contain wonderful music, as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements, though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer, and on this basis they were given the number “442” in Köchel’s catalogue. The first edition used completions by Mozart’s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed, highly rewarding completions by Robert D. Levin.

Le Festin d?Ésope op. 39 no. 12 : Le Festin d?Ésope op. 39 no. 12

Charles Valentin Alkan’s cycle of variations Le Festin d’Ésope derives from his monumental series of etudes op. 39, the 12 Études dans tous les Tons Mineurs, and forms the culmination of that work. Now G. Henle Publishers presents, for the first time in an Urtext edition, what is by far the most well-known piano composition by this French pianist and composer notorious for the extreme virtuosity of his works. Because no autograph manuscripts survive, the first edition from 1857 is the sole source. The premier Alkan scholar Wolfgang Rathert gives details about the life and œuvre of the composer in his preface, while fingerings are provided by the Italian keyboardvirtuoso Vincenzo Maltempo, who has recorded numerous works by Alkan. By popular demand, this composer may also now finally assume his place in the Henle Urtext catalogue!

J.S. Bach: French Suites BWV 812-817 (Urtext Edition)

Bach's Franzosische Suiten (French Suites) BWV 812-817 are a beautiful collection of elegant works, which epitomise music from the Baroque era. This Urtext edition, edited by Rudolf Steglich and fingered by Hans-Martin Theopold, provides you with an accurate realisation of the composer's original intentions, with thorough and detailed editorial markings and suggestions.

Leichte Klaviervariationen Aus Barock Und Klassik

With this selection of piano variations from the Baroque and Classical eras, we aim to facilitate the player’s discovery of a vast staple of literature which represents, next to the sonata, the most important group within the classical piano repertoire. Variations by the two Bach sons Carl Philipp Emanuel and Johann Christian Bach as well as by Georg Friederic Handel neighbour on three cycles by the great Viennese classics Haydn, Mozart and Beethoven. Caution was taken so as not to surpass a medium level of difficulty (level 5).

Romanian Folk Dances

Bartók’s Rumanian Folk Dances, composed in 1915, are among his best-known works. They exist in multiple forms, since as well as several piano arrangements and a later orchestral version of his own there also exist arrangements by his contemporaries that were made with his consent. Today we can even access performances of the dances by Bartók himself; these recordings document varied repeats enriched by octave doublings to make a sort of “concert version” of the dances. Bartók expert László Somfai brings order to the rich fund of sources, and in Henle’s Urtext edition enters significant variants directly into the musical text itself.

Zwölf Gedichte Opus 35 : Liederreihe nach Kerner

As with the Dichterliebe (HN 549), Frauenliebe und Leben (HN 547) or the song cycles with texts by Heine and Eichendorff (HN 548 and 550), the Kerner Cycle op. 35 was written in 1840, Schumann’s “Liederjahr”. Yet it has a special place: it was composed in the time immediately following Schumann’s marriage to Clara Wieck. Schumann set a series of poems to music in November, during a “quiet week, which went by with composing and much loving and kissing”, and the cycle was complete by the turn of the year. It contains a great deal of intimate musical innuendos. The first edition of 1841 was soon followed by a second issue, many of the songs were published individually and the “Wanderlied” soon became a core piece in the repertoire. With Henle’s edition the songs in Schumann’s cycle are once again being published together in a single volume.

Maurice Ravel: Violin Sonata In G Major

Inspired by Béla Bartók’s Violin sonatas, Ravel planned his own sonata for Violin and Piano in 1922, but at first did not get beyond sketches. Many interruptions ensued and the work was only finished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata’s sparse, thinned out compositional structure and instrumentation, Ravel later emphasized that the sonata proved the tonal incompatibility of the Violin and Piano. Yet it still succeeded in winning a permanent place in Violin repertoire – not least because of its middle movement inspired by jazz elements and the “blues”. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé .

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.

Die Sieben letzten Worte unseres Erlösers am Kreuz : Hob. XX/2, Vokalfassung, Wissenschaftliche Gesamtausgabe, Kritischer Bericht, Reihe XXVIII, Band

Written entirely in German. 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 JosephFriebert 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 ownvocal 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.

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.?

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.

Ludwig Van Beethoven: Coriolan Overture Op.62 (Study Score)

Urtext edition study score for Ludwig Van Beethoven 's Coriolan Overture Op.62 . Beethoven 's Coriolan Overture Op.62 was inspired by the tragic legend of the Ancient Roman hero Coriolanus. This story enjoyed popularity in the early 1800s as the subject of a play by the Austrian writer Heinrich Joseph von Collin. By the time that Beethoven composed this overture in 1807, however, the play had long since been taken off the programme. Apparently it no longer mattered to the composer whether his music was performed in conjunction with the play or not – and he thus wrote one of the earliest and to-date best-loved concert overtures in musical history. The text of the Beethoven Complete edition was carefully reviewed for this Henle Urtext study edition and there is a new preface.

Bearbeitungen von Arien, Szenen und Ensembles : Arr. of Arias, Scenes and Ensembles by Other Composers Part 1

Franz Schubert: Impromptus And Moments Musicaux (Henle Urtext Edition)

The Urtext edition of Schubert's Impromptus And Moments Musicaux for piano solo as edited by Walter Gieseking.Contents include:4 Impromptus Op.90 D.8996 Moments Musicaux Op.94 D.7804 Impromptus Op. post. 142 D.935

Cantatas

Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well! Today, Beethoven’s cantatas assuredly number among his lesser known compositions, but in their day were not insignificant for the composer as typical incidental works for social and political occasions. Though written in 1790 while Beethoven was still in Bonn, the two Kaiser cantatas, WoO 87 and 88, nevertheless remained unperformed during the composer’s lifetime – not until a century later did Beethoven scholars rediscover them and marvel at their depth of feeling. In contrast, the cantata “The Glorious Moment”, written for a state ceremony upon the conclusion of the war in 1814, enjoyed a premiere in Vienna that was enthusiastically received by the public – and with itshymn “I Am Europe, No More a City” by all means achieves political topicality again today. This practical study edition offers the musical text of the Beethoven Complete Edition, supplemented by an excellent preface from Beethoven scholar Ernst Herttrich – perhaps an opportunity to discover unknown Beethoven as well!

Violoncello Sonata F Major Op. 5 No. 1

The two Sonatas op. 5 were written in 1796 expressly for the young Beethoven's performance with the cello virtuoso Jean Louis Duport at the Berlin court. That he wasn't eclipsed by the latter was ensured by the extremelyscintillating piano part, with which Beethoven the pianist was able to present himself in the best light. Opening with a slow introduction, the Allegro of the F-major sonata dazzles with its abundance of melodies. The followingRondo weds musical wit with playfulness, guaranteeing the sonata's special popularity to this day. The Urtext edition by Jens Dufner is based on his research for the Critical Report of the Beethoven Complete Edition and thusfeatures a musical text at the highest scholarly level. In the preface and Critical Report, he outlines the genesis and source situation of the sonata. Ian Fountain and David Geringas provide the fingerings.

Piatti 12 Capricci Op 25 Vlc Stsc

One of the most celebrated cellists of his day, virtuosic composer Alfredo Piatti performed with the likes of Liszt and Mendelssohn Bartholdy. His 12 Capricci Op. 25 are a must for all advanced Cello players. Piatti 's 12 Capricci have been compared by Sir Yehudi Menuhin to the Cello Suites by J. S. Bach - in fact, Menuhin referred to the two works as the 'Old and New Testament' of Cello literature. This Henle Urtext publication is the very first time that the work has been produced in a practical study edition.

Pencil set - 5 composers

5 pencils HB = #2, 175 mm long, triangular shape, each with a snippet of music by and signature of J. S. Bach, Chopin, Mozart, Schubert and Schumann, in a Henle blue cardboard sliding box, 195 × 74 × 15 mm