Piano Concerto in E flat major K. 482

Composed at the end of 1785, Mozart’s Piano Concerto in E-flat major forms a group of three with the two famous concerti in A major K. 488 and in C minor K. 491, which he completed in March of the following year. What they all have in common is Mozart’s inclusion of Clarinets in the Orchestra for the first time. In this he succeeded to particularly impressive effect with the lyrical passages in the slow sections of the E-flat-major concerto, which was well received by the audience at the first performance. Indeed, his father, Leopold, reports in a letter that Mozart “had to repeat” the Andante immediately. G.Henle Publishers is issuing this concerto, undeservedly overshadowed by its famous siblings, in a handy study edition in full score; a Piano reduction is in preparation.

Impromptu In E Flat D.899

At the end of his short life, Franz Schubert impressively illustrated, in his collections of “Impromptus” and “Moments musicaux”, how lyrical-songlike form could be rendered on the piano. Nothing can be added to these perfectly fashioned masterworks. Thus in the E flat major Impromptu op. 90 no. 2 the player using our Urtext edition can abandon himself/herself to a perpetuum mobile of scurrying eighth-note triplets and at the same time delight in the piece’s very demanding playing technique and sound-world.

Harpsichord Concerto no. 2 in E major BWV 1053

It is almost impossible to tell from listening to them that Bach’s extremely popular concerti for harpsichord were probably his own transcriptions of solo concerti which had originally been composed for violin or a woodwind instrument. The outer movements of the second concerto, in E major, probably written around 1738, sparkle with joy, while the expressive melodic lines of the middle movement, the Siciliano in C-sharp minor, transport the listener to the realm of his Passion music. G. Henle Publishers presents this repertoire standard in an Urtext edition with an extensive commentary. The study edition (HN 7381) features the complete orchestral score: the piano reduction (HN 1381) contains the solo part as well as a very playable piano reduction of the score prepared by Johannes Umbreit for practical use.

Bernhard Henrik Crusell: Clarinet Concerto In E-Flat Major Op.1

This edition completes Henle's series of all three Clarinet concertos by the Swedish composer and clarinettist Bernhard Henrik Crusell . Issued in Leipzig in 1811, the  Clarinet Concerto In E-Flat Major Op.1 was  Crusell 's first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio, it is probably the most “Mozartian” of all of his three concertos, although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinettist Nicolai Pfeffer is now presenting this charming work, between Classicism and Romanticism, on the basis of the first edition. The Piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

Streichquartett E-Moll

Streichquartett E-Moll

Serenade e-moll Op. 20

Klaviersonate Nr. 8 E-moll

Opus 13 - Grande Sonate Pathetique

Serenade E-dur Op. 22

Serenade E-dur Op. 22

Serenade E-dur Op. 22

Serenade e-moll Op. 20

Serenade e-moll Op. 20

Partita 6 E-Moll BWV 830

Concertino E Flat Major Op. 4

Klaviersonate E-Moll - Hob. XVI:34

Schumann Variations E flat major Op. 23

Piano Quartet E Flat Major Op. 87

Symphony E flat major Hob. I:91

Haydn’s three Symphonies nos. 90–92 might rightly be dubbed his “Paris Symphonies Part II”, as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82–87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him”. Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. According to the autograph manuscript, the Symphony in C major no. 90 was completed in 1788 and highlights its festivecharacter with the addition of timpani and trumpets. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans. Haydn’s three Symphonies nos. 90–92 might rightly be dubbed his “Paris Symphonies Part II”, as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82–87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him”. Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. According to the autograph manuscript, the Symphony in C major no. 90 was completed in 1788 and highlights its festivecharacter with the addition of timpani and trumpets. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Horn Concerto No. 2 in E flat major

As if looking back on his youth toward the end of his life, Richard Strauss wrote a second concerto for horn and orchestra, again in Eb major, around sixty years after his first concerto for horn. This sublimely beautiful late work, which gives no indication of the oppressive circumstances of Strauss’ poor health and the Second World War, was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss’ death that the concerto appeared in print in London, making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor, Hans Pizka, former principal horn of the BavarianState Opera in Munich, learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances, the especially playable piano reduction by Johannes Umbreit is a great help. As if looking back on his youth toward the end of his life, Richard Strauss wrote a second concerto for horn and orchestra, again in Eb major, around sixty years after his first concerto for horn. This sublimely beautiful late work, which gives no indication of the oppressive circumstances of Strauss’ poor health and the Second World War, was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss’ death that the concerto appeared in print in London, making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor, Hans Pizka, former principal horn of the BavarianState Opera in Munich, learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances, the especially playable piano reduction by Johannes Umbreit is a great help.

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.

Symphony in E flat major Hob I:99 SE