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.

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.?

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.

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

Leos Janácek: In The Mists

Piano music occupies a small, but nevertheless musically important place in Leos Janácek 's oeuvre. This Henle Urtext Edition of the composer's In The Mists by the seasoned Janácek editor Jirí Zahrádka is an impressive example of this. This small cycle was composed in 1912 and was published for the first time the following year. But as was so often the case, Janácek was prompted to revise it. Following the first performance of the work in Prague by the pianist Stepán Václav in December 1922, the composer and interpreter jointly undertook a revision, which was published in 1924. Henle is now publishing this definitive version in an Urtext edition, which also provides convincing solutions for practical questions, such as how to deal with inconsistent pedal markings by Václav and Janácek .

C.Ph.E. Bach: Flute Concerto In D Minor

C. Ph. E Bach 's Flute Concerto In D Minor , Piano reduction with catalogue. Includes a preface in English, German and French.

Frédéric Chopin: Scherzo In E Op. 54

Chopin published his Scherzi nos. 1–3 at more-or-less regular intervals, in 1835, 1837 and 1840 – almost as if he’d planned them in advance. He published his fourth and final work in this genre after a further three years, in 1843. When compared with its predecessors, which were largely bleak in mood, this Scherzo no. 4 is surprisingly cheerful. With its sparkling runs and its chains of chords like dappled brush strokes, this work seems to summon up the fairy-like spirit of Mendelssohn’s scherzi. In editorial terms, however, it is problematical. Three parallel first editions were published – in Germany, France and England – and the many variants between them have to be investigated one at a time to determine their authenticity. This is a task that has been solved meticulously in this revised, stand-alone Urtext edition, which explains the transmission of this work in an exemplary, transparent manner for today’s pianists.

W.A. Mozart: Rondo In D K.485

This Rondo was written around the same time as the Piano Concertos in A major (K. 488) and c minor (K. 491). In the course of the work, a theme from the third movement of the Piano Quartet in g minor (K. 478) is taken up and further developed. In spite of its considerable length and its musical depth the work was apparently not published during the composer’s lifetime. The dedication, “Pour Mad:selle Charlotte de W…” (the rest is indecipherable) is an enigma. No matter which lady Mozart had in mind, this rondo is today one of his best loved and most played Piano works. Our single edition follows the musical text in the revised volume of his Piano works (HN 22), published in Mozart Year 2006.

Johann Sebastian Bach: Sonatas for Violin and Piano (Harpsichord) 1-3 BWV 1014-1016

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol,supplemented by further sources. Additional text-critical comments round off this valuable Urtext edition.

Joseph Haydn: The Oratorios - 4 Volumes In A Slipcase

Hardback Urtext study editions of all Haydn's oratorios, following the musical text in the Haydn Complete Edition, collected together in a slipcase. Aside from the musical text, each volume contains a preface in three languages reflecting the latest in scholarly research and a critical report with key information concerning the sources and textual criticism. These study editions are a feast for the eyes and have been produced with long-term use in mind. All in all a total of almost 2,000 pages of Henle Urtext filled with oratorio artistry.

Antonín Dvorák: Romance In F Minor Op.11

In 1873, following the rejection of his opera 'The King and the Charcoal Burner', Antonín Dvorák reached somewhat of a turning point in his career. Inspired to give his compositions a new direction, he started to write pieces such as his String Quartet In F Minor Op. 9 in a new style that was less orientated towards Wagner. However, much to his disappointment, this new style was rejected by musicians. Notwithstanding this painful experience Dvorák gave the slow movement of the quartet a second chance, reworking it as a Romance For Violin Or Orchestra In F Minor . It was first performed in 1877 to great acclaim. The fingerings and bowings by Antje Weithaas lend the Henle Urtext Edition of this jewel of Violin literature a special touch.

Johann Nepomuk Hummel: Trumpet Concerto In E - Trumpet/Piano (Urtext)

Piano reduction in E major and E flat major with parts in E/E flat, C and B flatHummel's Trumpet Concerto is still one of the most popular concertos for this instrument. He composed it in 1803 for the Viennese court trumpeter Anton Waidinger, whose newly developed key-trumpet enabled him to play in a much more virtuoso manner than on the traditional natural trumpet. Henle's Urtext edition reproduces the work in the original key of E major with solo parts in E and for the more common trumpet in C. Due to the fact that the concerto is nowadays often performed in E flat major, this edition also contains a piano reduction in E flat major for trumpets in E flat and B flat. The different transpositions are now available in one single edition for the first time.

Robert Schumann: Piano Quartet In E Flat Op. 47

“In the evening we played Robert ’s E-Flat Major Quartet for the first time … and I was once again truly delighted at this beautiful and so youthful work”, enthused Clara Schumann in 1842. In preparation for this work Schumann had studied String quartets by the Viennese Classical composers. This is why all of the parts in the quartet are treated equally, forming a splendid ensemble. Our edition has an extensive critical commentary on account of the difficult source situation. The fold-out page in the Cello part was designed with music practice in mind. The Piano Quartet and the Piano quintet op. 44, referred to as “sister works”, were both composed in Schumann ’s “chamber music year”. For this reason we were publishing them both in the 2006 “ Schumann Year”.

Claude Debussy: Piano Trio In G (Urtext Edition)

Debussy composed this work in summer 1880 in Fiesole, Italy, when he was 18 years old. At the time he was the musical travelling companion of Nadescha von Meck, Tschaikowsky’s famous patroness. Most of the autograph material was thought to have been lost and was only discovered over 100 years later, in 1982, in the estate of Debussy ’s pupil Maurice Dumesnil. When Henle published the first edition in 1986, the music world welcomed the Trio with open arms. Ensembles rushed to play it, and numerous recordings followed. Although formal conventions prevail, the work displays a melodic freshness as well as inflections and phrases that are typical of Debussy .

Johannes Brahms: Scherzo In E Flat Minor Op.4

Johannes Brahms was not even 20 years old when he wrote The Scherzo Op.4 in 1851. The young composer and pianist used it as a kind of 'calling card' to introduce himself to influential musicians. He also played the Scherzo to the Schumanns several times in 1853, and thus might have inspired his older colleague to write the famous article ?Neue Bahnen? (New Ways). In it, Schumann praised ?single piano pieces, some of them turbulent in spirit while graceful in form?.

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.

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 no. 4 - 6 for Violin and Piano (Harpsichord) BWV 1017-1019

As Court Music Director in Cöthen, Johann Sebastian Bach devoted himself primarily to instrumental music. Among the works written there were his Sonatas for violin and obbligato harpsichord BWV 1014 1019, which have come down to us as a complete cycle. The violinist and harpsichordist/pianist are equally challenged here, and the sonatas together with Bach’s flute and viola da gamba sonatas lay the foundation for the duo sonata in the modern sense, as the usual accompanying function of the basso continuo yields to an independent keyboard part that lends each sonata an individual profile. Our edition is largely based on the manuscript copies made by Bach’s son-in-law Altnickol.The Sonata in G Major BWV 1019 exists in quite varying versions, each with different individual movements. For this reason, two older versions of the Sonata are published here in an appendix, making this Urtext edition especially valuable for Bach enthusiasts too.

Robert Schumann: Seven Piano Pieces In Fughetta Form Op.126 - Urtext

In response to failures, Schumann once again turned more to composing during his time in Düsseldorf. He wrote many new works ? also ones for the Piano for which he had only written a few pieces after his first years of composing.Bach's music played an important role in the Schumanns' house at the time; this is mirrored in the fact that Schumann turned to baroque forms again. However, he wanted his fugues to be understood as "character pieces, just in a stricter form".The Piano Pieces in Fughetta Form op. 126, published in Henle's catalogue for the first time, unite the strict formal demands with romantic expression in a masterly manner.

Sergei Rachmaninoff: Prélude In D Op.23 No.4

This wonderfully dreamy nocturne is taken from Sergei Rachmaninoff 's Op.23 collection. Written in the style of Chopin, the engaging immediacy of this work's poetic magic and the fact that it is only moderately difficult make it an ideal introduction to the late-Romantic, colourful sound world of Rachmaninoff 's 24 Préludes. The Henle Urtext edition of Rachmaninoff 's Prélude in D major is based on the autograph sources in the Glinka Archive in Moscow. The fingerings are by Marc-André Hamelin, who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic Piano music.

Frédéric Chopin: Berceuse In D Flat Op. 57

Frédéric Chopin spent his fifth summer at George Sand’s country estate in Nohant in 1844. The time away from Paris gave the composer the necessary creative free space to produce the delicate Berceuse (lullaby) as well as the B minor sonata that year. The former is known for its dreamy, exquisite ambient sound – and yet it still numbers amongst Chopin’s most fabricated works. It was originally intended to have the somewhat sober title “Variantes”: a sketch shows how Chopin conceived these “Variantes”. The genesis and source situation are explored in this Henle revised edition that reflects the latest scholarly findings. A classic with a new look in the Henle catalogue.

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.

Antonín Dvorák: String Quartet In A Flat Op.105

During his time in America (1892-95) Dvorák suffered with homesickness. It was whilst living in New York that he began his String Quartet In A Flat Major but he did not complete the piece until after his return to Bohemia in December 1895. There is no trace of the influence of Indian or African-American music in this, his final chamber work; rather, the piece is striking for the amount of cantabile themes and motives, and their contrasting and artistic treatment. It seems that his relief at seeing his children and family again directly influenced the work. Dvorák himself wrote in a letter during its composition that 'Almighty God has granted us this cheerful moment, and thus we all feel unutterably happy'. This Henle publication is the first Urtext edition of the Quartet since 1955.

Antonín Dvorák: String Quartet In A Flat Op.105

During his time in America (1892-95) Dvorák suffered with homesickness. It was whilst living in New York that he began his String Quartet In A Flat Major but he did not complete the piece until after his return to Bohemia in December 1895. There is no trace of the influence of Indian or African-American music in this, his final chamber work; rather, the piece is striking for the amount of cantabile themes and motives, and their contrasting and artistic treatment. It seems that his relief at seeing his children and family again directly influenced the work. Dvorák himself wrote in a letter during its composition that 'Almighty God has granted us this cheerful moment, and thus we all feel unutterably happy'. This Henle publication is the first Urtext edition of the Quartet since 1955.

W.A. Mozart: Piano Sonata In C K.309 (284b) - Urtext

?I wish to do it to reflect the character of Mad:selle Rose,? Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it ?excellently?. So that a great many other pupils might follow in her footsteps, Henle are now publishing this small gem that shows Mozart?s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN1 and HN3).