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.

Debussy: La Plus Que Lente Piano Solo

Slow waltzes enjoyed a special vogue in Parisian salons of the early twentieth century, leading Debussy – with a twinkle in his eye – to produce his piano waltz “La plus que lente” (“The Slower-than-Slow”). Parisian publisher Durand brought Debussy’s piano waltz, issued in July 1910, to a wider public by publishing it that same year as a supplement to Le Figaro, as well as in arrangements (by others) for violin and piano and for piano, 4-hands. Debussy himself produced a version for orchestra, and in 1913 he even – at a rather faster tempo – recorded it on a piano roll for the Welte-Mignon company. This work, headed “molto rubato con morbidezza” (with much rubato, morbidly), is now available as a separate Henle Urtext. A preface, extended from those in the anthology volumes HN 1194 and HN 404, will stimulate curiosity about this charming miniature waltz.

Maurice Ravel: Gaspard De La Nuit - Henle Urtext

A collection of prose poems by the French Romantic Aloysius Bertrand inspired Ravel to write his piano cycle "Gaspard de la nuit". Unlike earlier works he does not merely create an atmospheric depiction of the literary model - in a fascinating manner he recounts the eerie-grotesque scenes using musical means. His "three romantic poems of transcendental virtuosity" were supposed to surpass the technical refinement of Balakirev?s "Islamey" (HN793), which was considered unplayable at the time. This edition not only offers impeccable Urtext in a clear, larger format: the corresponding poem by Bertrand prefaces each part in three languages.

Franz Liszt: Bénédiction De Dieu Dans La Solitude

Liszt?s piano cycle ?Harmonies poétiques et religieuses? (HN639) was inspired by religious-philosophical poems of the French Romantic Alphonse de Lamartine. Whereas the cycle as a whole remained comparatively unknown, single works have become an established part of the demanding standard repertoire for pianists. Aside from ?Funérailles? (HN748), the same is true of the longest work in the volume ?Bénédiction de Dieu dans la solitude?. This work, which is particularly expressive musically, is now appearing for the first time in Henle's catalogue as a single volume; it is prefaced by Lamartine?s text in three languages. The fingering is by the composer.

Debussy: La Fille Aux Cheveux De Lin Piano Urtext

Debussy intentionally did not place titles at the top of his Préludes for piano (HN 383), published in 1910, but merely wrote them at the end and in parentheses – almost as a belated comment on the piece just played. Nevertheless, no. 8 in the collection, “La Fille aux cheveux de lin” (The girl with the flaxen hair), has become famous in its own right. This image perfectly fits the dreamy graceful music. And ever since, the prelude has been the object of numerous arrangements for other scorings. Our single edition of this much-loved piece contains the Urtext musical text for piano and also includes a detailed preface.

J. S. Bach: Capriccio Sopra La Lontananza Del Fratro Dilettissimo In B Flat BWV 992

J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece was written and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas of Johann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

J. S. Bach: Capriccio Sopra La Lontananza Del Fratro Dilettissimo In B Flat BWV 992

J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece was written and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas of Johann Kuhnau. This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and includes fingering by Hans-Martin Theopold.

Franz Joseph Haydn: Paris Symphonies Part 1 - Critical Report

This scholarly volume features a critique, editorial commentary and performance advice in a Critical Report for three of Haydn?s Paris Symphonies: Symphonie (Paris Symphonies) Hob. I:87, Symphonie 'La Poule' (Paris Symphonie) Hob. I:83 and Symphonie 'La Reine' (Paris Symphonies) Hob. I:85.

C.P.E. Bach: Gamba Sonatas Wq 88, 136, 137, Edition for Gamba (Viola)

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father?s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.?

Franz Liszt: Les Jeux d'eaux à la Villa d'Este

Franz Liszt was a frequent guest of the acting cardinal at the Villa d?Este, situated in Tivoli near Rome. His ?Jeux d?eaux? describe the glittering fountains, part of the water features at the villa; in measure 144 Liszt also added a quotation from the Bible to the musical text about the ?water of life?, thus giving the work a religious context. Maurice Ravel, who was also inspired to write a composition ?Jeux d?eau? (HN 841) thanks to Liszt, gave his work a markedly secular accompanying text. This new single edition from the third volume of the ?Années de Pèlerinage? (HN175) is a counterpart to Henle's recently published Urtext edition of Ravel?s masterpiece.

Sergei Rachmaninoff: Corelli Variations Op. 42

Rachmaninoff wrote his well-known Piano cycle in 1931, at a time when his great works for Piano solo and the Piano concertos had already made him very famous. Yet it is by no means the ?work of an old man?. The composer?s variations on the theme ?La folia? (taken from a sonata by Corelli) are like a series of fireworks on the Piano. He once drily said to a friend, ?All this mad running about is necessary in order to efface the theme?. Did Rachmaninoff succeed in silencing ?la folia? ? i.e. the ?madness?? Why not see for yourself.

Carl Philipp Emanuel Bach: Gamba Sonatas - Edition For Cello

Like his father, Carl Philipp Emanuel Bach wrote three sonatas for Viola Da Gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent Viola Da Gamba player in the court orchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father’s example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the Harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the Cello; the fingerings in the marked copies provide helpful suggestions.

Claude Debussy: La Cathédrale Engloutie Preludes 1 No.10

This single edition – it is number 10 in the first volume of the Préludes (HN 383) of 1910 – shows the extent of Debussy ’s imagination as he conjures up the old city of Ys that has sunk into the sea. Debussy enjoyed playing this piece himself and also left behind a recording on Piano roll. This gives important insights into his tempi. The term prélude, reminiscent of Chopin, makes clear the return to traditional forms, which the now established composer was slowly embracing once again. The programmatic title, as with all of the Préludes, is only given at the end of the piece, thus underlining its passing significance.

Ludwig Van Beethoven: Trio In C Op.87/Variations In C WoO 28 - Wind Parts (Urtext Edition)

Both of these works for two oboes and cor anglais, which Beethoven composed in the 1790s, belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired by the prevailing popularity of this delicate combination of instruments.Likewise, with the Variations WoO 28 on the famous theme "La ci darem la mano" by Mozart, he made a contribution of his own to the arrangements of operatic melodies for wind ensembles that were so popular at the time.This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research on Beethoven.

Ludwig Van Beethoven: Trio In C Op.87/Variations In C WoO 28 - Wind Study Score

Both of these works for two oboes and cor anglais, which Beethoven composed in the 1790s, belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired by the prevailing popularity of this delicate combination of instruments.Likewise, with the Variations WoO 28 on the famous theme "La ci darem la mano" by Mozart, he made a contribution of his own to the arrangements of operatic melodies for wind ensembles that were so popular at the time.This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research on Beethoven.

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

Enrique Granados: Quejas O La Maja Y El Ruiseñor, No. 4 From Goyescas

This “Lament, or the maiden and the nightingale” is the fourth movement of Granados’ six-part piano cycle Goyescas (1909–11). The cycle’s title is derived from the name of the Spanish painter Francisco de Goya, whose paintings inspired Granados. The Goyescas conjure up Goya’s Spain of the late 18th century – chivalrous and sensual, but also melancholic and sombre. The overall theme is the life of two young lovers. The “Quejas” are a turning point in the cycle, because here jealousy leads to a lament that is joined by the song of the nightingale. The expressive intensity makes the movement the highpoint of the cycle for many, and G. Henle Verlag is now offering it as an individual Urtext edition.

W. A. Mozart: Sonata A K331 (Revised Urtext Edition)

A sensational finding provided the impetus for this new edition. In autumn 2014 a hitherto unknown Mozart autograph of the famous Piano Sonata In A Major (with the enduring “Turkish March”) surfaced in Budapest. After a painstaking study of the manuscript and a meticulous comparison with all of the other sources, G. Henle Publishers is now issuing the first definitive Urtext edition of significant parts of this masterpiece (the new autograph does not contain the complete sonata). It must be said that there are serious deviations from the musical text as we know it. So we are proud to be able to say that it is not possible to seriously study this sonata without consulting our Urtext edition.

Isaac Albeniz: La Vega (Henle Urtext Edition)

With foreword, comments and textual notes.

Easy Piano Music - 18th And 19th Centuries - Volume I

Pieces include: W.F. Bach 'Fugue', C.P.E. Bach 'La Stahl', Hassler 'Allegro', Mozart 'Andantino', Mozart 'Courante', Beethoven 'Bagatelle', Schubert 'Bagatelle', Schubert 'Scherzo', Schumann 'Eintritt', Schumann 'Einsame Blumen', Mendelssohn 'Allegretto', Hellerc 'Etude', Jensen 'Intermezzo', Chopin 'Prelude', Chopin 'Mazurka', Liszt 'Hymne De L'Enfant A Son Reveil', Mussorgski 'En Trane', Mussorgski 'Meditation', Grieg 'Voglein', MacDowell 'From An Indian Lodge'.

Franz Joseph Haydn: La Canterina - Intermezzo in Musica

Alexander Skrjabin: Vers la flamme Poeme Opus 72

Edited by Valentina Rubcova, with fingering by Michael Schneidt.

Franz Joseph Haydn: La Canterina - Intermezzo in Musica

Beethoven Pf Sonata No28 In A Op101

The Piano Sonata op. 101 marks the transition to Beethoven’s late works. The composer’s increasing deafness was already manifesting itself in such a marked way that he no longer dared to appear publicly as a pianist. In this sonata he experimented with unusual harmonies, broke with form, gave detailed German headings for the movements, and for the first time also used a note so “unheard of” that it was not even on most of the contemporary pianos: the low counter E. The editors have undertaken a thorough revision of our edition and our catalogue now offers a single edition of this sonata.

Franz Schubert: Klaviersonate A-Moll Op. 143 (Urtext)

Franz Schubert’s Piano Sonata op. 143 in a minor was composed in 1823 after his large “Wanderer Fantasy”. With its formal cohesion and mature originality, this a-minor Sonata initiated a new phase in Schubert’s sonata oeuvre. The composer dispensed here with all pianistic brilliance. At the same time, a wealth of colour and of sonorities triumphs in such a manner that the work numbers among Schubert’s most frequently played sonatas. For this Urtext edition, we had at our disposal the composer’s autograph as the authoritative source, the posthumous first edition was consulted only by way of comparison.