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Beethoven: The String Quartets (Henle Urtext Edition) - Box Set

Henle Urtext Edition Box Set of Beethoven's String Quartets. Contains seven individual study score editions with Op.18; Op.59,74,95; Op.127; Op.130,133; Op.131; Op.132 and Op.135.

Johann Sebastian Bach: Sonatas for Viola da Gamba and Harpsichord BWV 1027-1029

A superb collection for Viola da Gamba or Violoncello with Piano accompaniment. Set as part of the ABRSM Cello Syllabus.

Musical Quotes Cards (10 Cards In 2 Designs) - Set 1

Musical Quotes Cards (10 Cards In 2 Designs) - Set 2

Joseph Haydn: Concertante In B Flat Hob.I:105 (Henle Urtext Edition) - Piano Reduction

Authoritative Henle Urtext Edition of Haydn's Concertante In B Flat Hob.I:105 for Oboe, Bassoon, Violin and Cello, set here with a Piano reduction of the original orchestra material.

Robert Schumann: Song Cycle op. 24

Schumann was the first to set a complete cycle of Heinrich Heine’s poems to music. His literary “forks of lightning” had already fascinated Schumann when he was 17 years old. However, he only wrote Opus 24 in 1840, in his “year of song”, choosing to set a cycle of poems from the “Buch der Lieder”. He wrote the following to his fiancée: “Ah, Clara, what bliss it is to write for the Voice”. This enthusiasm is reflected in each of the nine songs. This is Kazuko Ozawa’s third edition of a Schumann cycle to be published in Henle Urtext.

Franz Schubert: Quintet In A Op. Post.114 D.667 'Trout Quintet' (Henle Urtext Edition)

The Score and complete set of parts for Franz Schubert's Piano Quintet in A, commonly known as the Trout Quintet. Contains Piano score and parts for Violin, Viola, Cello and Double Bass. Edited for this authoritative Henle Urtext Edition by Wiltrud Haug-Freienstein.

J.S. Bach: English Suites BWV 806-811 (Urtext Edition)

These six suites for keyboard are thought to have been the earliest set that Bach composed. Available here is a highly accurate Urtext edition of J.S. Bach's English Suites BWV 806-811 as edited with critical commentaries by Rudolf Steglich and fingered by Hans-Martin Theopold.

Franz Liszt: Trois Etudes De Concert (Urtext Edition)

A set of three piano studies composed by Franz Liszt in 1848. Similar to Chopin?s Etudes, they address some basic problems of piano technique within a poetic context.Available here is a highly authoritative Urtext edition of Liszt?s Trois Etudes de Concert, as edited by Rena Charnin Mueller and Wiltrud Haug-Freienstein, with original fingering by the composer.

Ludwig van Beethoven: String Quintets

A must for all ambitious String ensembles: this classic of the Henle catalogue has received a great many improvements based on the latest findings of scholarship. After years of research, Beethoven ‘s complete String Quintets are now available in a thoroughly revised set of parts and an improved appearance on the page. Needless to say, the parts are accompanied by a study score (HN 9267).

Ludwig Van Beethoven: Streichquintette

A must for all ambitious string ensembles: this classic of the Henle catalogue has received a great many improvements based on the latest findings of scholarship. After years of research, Beethoven‘s complete string quintets are now available in a thoroughly revised set of parts and an improved appearance on the page. Needless to say, the parts are accompanied by a study score (HN 9267).?

Johannes Brahms: Eight Piano Pieces Op.76 (Urtext Edition)

Brahms? Opus 76 was his first set of miniature masterpieces that were to comprise the remaining output of his solo piano music. These pieces are imbued with the composer?s then matured ?developing variation? technique, in which the entire musical fabric is spun from germinal motives, often a single one for an entire piece.Available here is a highly authoritative Urtext edition of Brahm?s powerful and impassioned 8 Piano Pieces Op.76, providing you with an accurate representation of the composer?s original intentions.

Robert Schumann: Flower Piece In D Flat Major Op. 19

Our series of revised Schumann editions continues with this delicately wrought set of variations. “Opus 18 and 19 are frail things for ladies”: thus, with a wink of the eye, Schumann alluded to his wish to become “the favourite composer of every woman in Vienna”. In fact, at this time he was having trouble making headway in Vienna at all, and his dream of settling there with Clara was fading fast. The work takes its distinctive lyrical flavour from the fact that he may have wanted to accommodate the lighter Viennese taste.

Franz Liszt: Second Petrarch Sonnet No.104

Petrarch, co-founder of humanism and one of the greatest Italian poets, left behind hundreds of sonnets in his collection "Canzoniere". In these sonnets he expressed his adoration of Laura, a mysterious female figure, although it is not even known if she really existed. Well over five hundred years later, Liszt set sonnet nos. 47, 104 and 123 to music, creating lyrical and poetic songs for piano. He included the versions for piano solo in the second volume ("Italy") of his "Années de Pèlerinage" (HN174). The second Petrach sonnet no. 104 is particularly popular.

Anton Reicha: Selected Piano Works

Anton Reicha (1770–1836) is doubtlessly known to many music lovers as a friend of Haydn’s and Beethoven’s. Wind players know him as the outstanding composer of 24 published Wind quintets. Curiously enough, the fact that Reicha also wrote inspiring works for the Piano is not very well known, even today. Hopefully our edition of selected works will help to change this. It provides a cross-section of the different genres that Reicha cultivated: a sonata (op. 43), a set of variations (op. 57) as well as a fantasy (op. 61).

W.A.Mozart: Piano Sonata In G KV 283 (Henle Urtext Edition)

Curiously enough, only one of Mozart’s eighteen piano sonatas (and also only one of his 23 piano concerti) is in the pianistically rewarding key of G major: the sonata K. 283. It numbers among those six sonatas K. 279 284 that were probably written in Munich at the beginning of 1775, and is one of the favorites from this first set of sonatas among teachers and students alike. Played at the correct tempo, this sonata, although technically not too challenging, rarely fails to have its desired effect. That is especially true for its extended Presto (!) finale.

Franz Joseph Haydn: Streichquartette Heft X Erdody-Quartette Op. 76

“Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn ’s friend, the music historian Charles Burney, reported in 1799 that he had “never taken greater pleasure in instrumental music”. Our new edition of these six works, including the famous “ Emperor Quartet ”, follows the text of the complete edition prepared by the Haydn Institute in Cologne. Both the study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.

Franz Joseph Haydn: String Quartets Volume X op. 76 Nr. 1-6

“Masterly and full of new ideas”: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn ’s friend, the music historian Charles Burney, reported in 1799 that he had “never taken greater pleasure in instrumental music.” Our new edition of these six works, including the famous “ Emperor Quartet ,” follows the text of the complete edition prepared by the Haydn Institute in Cologne. Both the study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.

Isaac Albéniz: Iberia - First Book

Spanish music with a universal touch: that is what Isaac Albéniz set out to compose, and he brought it off to perfection in his Iberia Suite. At last all four "books" of this late-romantic masterpiece will be issued in an urtext edition worthy of the name, with top-quality appearance and engraving. Being manageable in their technique, Evocation , El Puerto , and Fête-Dieu à Séville – the three pieces in volume 1 – are especially popular. Enjoy these pieces in the same manner as Debussy, who wrote of Iberia : "One closes one‘s eyes and is bedazzled by the sheer wealth of invention in this music!"

Ludwig Van Beethoven: String Quartet In F Major Op.135

Beethoven ’s Op. 135 , one of the last works he composed, is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources, for Beethoven ’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827, after Beethoven ’s death, the German publisher of the first edition posthumously ironed out these discrepancies as he saw fit, and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135 . Beethoven ’s contradictory formulations are laid bare, allowing musicians to make their own decisions.

Frédéric Chopin: Grande Valse Brillante In E-Flat Op. 18

The Grande Valse Brilliante In Eb Major Op.18 was Frédéric Chopin ’s first waltz composition for solo Piano to be published although at the time of its release in 1834 he had already written at least sixteen other waltzes that were either destroyed or eventually published after his death. Chopin also gave the title Grand Valse Brillante to the next three waltzes in the Op. 34 set, published in 1838. This waltz has been orchestrated for ballet by several composers, including Igor Stravinsky, Alexander Gretchaninov, Gordon Jacob, Roy Douglas and Benjamin Britten. The Henle Urtext Edition has been edited by Ewald Zimmermann and includes fingering by Hans-Martin Theopold.

J. S. Bach: Trio Sonata In G BWV 1038

Bach?s Trio Sonata In G BWV 1038 For Flute, Violin And Continuo has survived as a set of parts in Johann Sebastian Bach?s hand ? yet the source does not give a composer. Thus its authenticity has been called into question time and again. According to the latest research, however, this tone sensitive sonata is presumed to be an original work by Bach. Editor, Peter Wollny, a declared expert, outlines the reasons for this in detail. The violin part is to be played in scordatura according to the source, so this version has provided a part in original notation as well as in standard notation for regularly tuned violins.

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.

Ludwig Van Beethoven: String Quartet F Op.135

Beethoven ’s Op. 135 , one of the last works he composed, is equally famous for its compositional clarity and for the inadequacy of previous editions. The problem lies in the surviving sources, for Beethoven ’s autograph score contains a great many contradictions compared to his autograph set of parts. In 1827, after Beethoven ’s death, the German publisher of the first edition posthumously ironed out these discrepancies as he saw fit, and later editions simply adopted his interventions. Rainer Cadenbach’s volume is the first attempt to produce an authoritative text for Op. 135 . Beethoven ’s contradictory formulations are laid bare, allowing musicians to make their own decisions. This ambitious new edition also finds room for ideal page turns.

Karl Ditters von Dittersdorf: Double Bass Concerto in "E major" Krebs 172

With this cornerstone of the Double Bass repertoire we continue a still young but important part of our catalogue. This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time, we also provide a solo part in fret notation. The Piano part in D major and E major (!) can be used to accompany the Double Bass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.