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J.S. Bach: Partita A-Moll Flote Solo BWV 1013

J.S. Bach: Partita A-Moll Flote Solo BWV 1013

Bach had a predilection for creating solo works for instruments that were more usually supplied with a keyboard accompaniment. It is thus only logical that, as well as the violin and cello, he also thought of making use of the typical melodic character of the flute in this way. Through the skillful use of broken chords he even succeeds in creating the illusion of polyphony. It soon becomes clear that Bach’s lyrical cantilenas are convincing even without the support of accompanying chords on a keyboard instrument. A high point in flute literature!

SEK 128.00
1

Franz Liszt: Hungarian Rhapsody No.15 - Rákóczi March

Franz Liszt: Hungarian Rhapsody No.15 - Rákóczi March

The Rákóczi March is often referred to as the "Hungarian Marseillaise". The beginnings of this march song go back to around 1730. In the text, the Hungarians summon Franz II Rákóczi to free his people from the Habsburg oppression. The melody has been arranged many times, e. g. by Brahms and Berlioz, even Liszt made several arrangements of varying degrees of difficulty. He eventually did a "concert arrangement" of the theme in his highly virtuosic Hungarian Rhapsody No.15. This Urtext edition opens with a knowledgeable preface by the Hungarian Liszt scholar Mária Eckhardt.

SEK 165.00
1

J.S. Bach: Two Part Inventions Piano Urtext

J.S. Bach: Two Part Inventions Piano Urtext

All piano students are familiar with Bach’s two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to express using only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts, to “achieve a singing style in playing” and to “acquire a strong foretaste of composition”. We are now presenting a new edition of this

SEK 170.00
1

Johann Sebastian Bach: Suites, Sonatas, Capriccios, Variations

Johann Sebastian Bach: Suites, Sonatas, Capriccios, Variations

Apart from the major cycles (partitas, French and English suites), a whole series of separate keyboard suites by Bach have come down to us, including individual sonatas or sonata movements, variations, and fragments of various sorts called Capriccios. None of them reached the degree of popularity of the aforementioned large collections. Most of them go back to Bach’s youth and student years, to wit, to the years between 1700 and 1710, and do not yet reach the mastery of the later years. However, this is compensated by the enormous joy one derives in playing these works.

SEK 457.00
1

Johann Sebastian Bach: Flotensonaten I - Die Vier Authentischen Sonaten

Johann Sebastian Bach: Flotensonaten I - Die Vier Authentischen Sonaten

The four Bach flute sonatas presented in this volume offer a genuine variety both in style and transmission. The first two are thoroughbass sonatas conceived for flute, string bass and harpsichord. Their time of origin is uncertain and might even date back to Bach’s Köthen period. In the transmitted version with obbligato harpsichord, the sonatas in b minor and A major BWV 1030 and 1032 are most probably arrrangements of earlier, no longer surviving works. The compositional interweaving of the sonatas for flute and harpsichord reaches its apogee in the contemplative b minor sonata, which is a masterpiece of the flute repertoire. By contrast, the A major sonata iscaptivating for its brilliant joyfulness and radiant colour.

SEK 345.00
1

Wagner/Liszt: Overture To Tannhauser Piano Solo

Wagner/Liszt: Overture To Tannhauser Piano Solo

Looking back in 1876, Liszt admitted candidly to the publisher Breitkopf & Härtel that his “Wagner transcriptions” had “only served as modest propaganda for Wagner’s noble genius, using the meagre possibilities of the piano”. In fact, in around 1850, Wagner’s operas Der fliegende Holländer, Tannhäuser and Lohengrin – which would later be so successful – were only being performed at the Weimar Court Theatre under Liszt’s baton. Liszt was inspired to compose his Tannhäuser Paraphrase by performances in Weimar of the overture in 1848 and of the whole opera in February 1849. Liszt’s piano arrangement of the overture is a technically brilliant piece of the highest order. It is a further milestone in Henle Publishers’ series of Liszt’s Wagner arrangements.

SEK 218.00
1

Ludwig Van Beethoven: Christus Am Ölberge Op.85 - Study Score

Ludwig Van Beethoven: Christus Am Ölberge Op.85 - Study Score

As the new house composer at the Theater an der Wien, Beethoven had an opportunity to perform an oratorio during Passiontide in 1803. In a very short space of time he drew up his one and only work for this genre. It deals with Christ's suffering and prayer in the garden of Gethsemane until he is taken prisoner.Following the première, the publisher of the first edition, who disliked the "operatic" libretto by Franz Xaver Huber, had an unauthorized revision of the texts undertaken. Although Beethoven resisted and demanded that it should be changed back to the original, this new version spread throughout the world.This Urtext edition presents the work with the original libretto that Beethoven set to music and following the text in the Beethoven Complete Edition.

SEK 436.00
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Wolfgang Amadeus Mozart: Piano Variations

Wolfgang Amadeus Mozart: Piano Variations

Though 18 piano sonatas is a respectable amount for any composer, Mozart also left almost as many namely 15 variation cycles. Variations on popular themes, but also on original tunes, were a kind of fashion craze back then, and Mozart made his contribution in this field as well. Certainly, financial considerations played a role here, after all, fashionable items sell well. Thus Mozart’s variations, in contrast to his piano sonatas, were all published during his lifetime. The fact that these were articles of taste did not mean that they were not of the finest quality, especially with Mozart. In these variations, a wealth of imagination and stylish elegance come together forjoyful music-making. One should not underestimate them, but simply take pleasure in these wonderful works.

SEK 404.00
1

Johannes Brahms: Symphony No.4 In E Minor Op.98 (Study Score)

Johannes Brahms: Symphony No.4 In E Minor Op.98 (Study Score)

The genesis of the Fourth Symphony possibly goes back to the 1870s when Brahms was studying the Bach Cantata ?Nach dir, Herr, verlanget mich?, whose chaconne theme forms the nucleus of the finale. Around 29 August 1885 Brahms wrote to Hans von Bülow from Mürzzuschlag in Styria: ?However I have a few entr?actes ? which together form what one would usually call a symphony. [?] I am afraid [?], it takes after the climate in this region ? the cherries do not ripen here.? Yet we are by no means speaking of ?sour? cherries here. The work is today a part of the canon of classical-romantic symphonies. Our handy and inexpensive priced study edition is based on the musical text in the Johannes Brahms Complete Edition (HN 6015).

SEK 176.00
1

Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

Camille Saint-Saens: Clarinet Sonata Op.167 (Urtext)

For Henle's Urtext edition of the Clarinet Sonata op. 167, they were able to consult the autograph for the first time. "At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunity to be heard", Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe, one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection are concerned, the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour, wit and fine irony characterise these works for wind.

SEK 250.00
1

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

After a twelve-year interval, Dvořák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where a group of Czech immigrants had settled, thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation of birdcalls. Since the first performances, certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans, which led to the soon popular work being called the “American Quartet”. For the first time since 1955, the Quartet is once again being published in an Urtext edition.

SEK 155.00
1

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

Antonín Dvorák: String Quartet F Op. 96 (American Quartet)

After a twelve-year interval, Dvořák once again turned his attention to the String Quartet in summer 1893. He had been musical director in New York since autumn 1892 and spent the summer in Spillville (Iowa) where a group of Czech immigrants had settled, thus making him feel at home. The beautiful natural surroundings led him to write this unconventional String Quartet in the tradition of Beethoven’s “Pastoral” – even down to the imitation of birdcalls. Since the first performances, certain rhythmic and melodic characteristics have been traced back to the influences of the folk music of Native Americans and African Americans, which led to the soon popular work being called the “ American Quartet ”. For the first time since 1955, the Quartet is once again being published in an Urtext edition.

SEK 234.00
1

Max Bruch: Violin Concerto In G Minor Op.26

Max Bruch: Violin Concerto In G Minor Op.26

It made its creator world-famous and added a towering masterpiece to the standard repertoire: Max Bruch ’s First Violin Concerto In G Minor . Now it’s appearing at last in an urtext edition from Henle. Bruch himself was not always overjoyed at his work’s popularity: "I can’t listen to this concerto anymore," he once complained to his publisher Simrock, "do you suppose I’ve only written one concerto?" By now the Bruch Concerto has found a permanent place in the world’s concert halls. Henle’s edition provides not only a razor-sharp urtext for the solo part, but a preface that alone is worth the price of the volume: who could have guessed that the concerto went through a convoluted genesis with multi-layered revisions, and that some of the changes go back to the famous violinist Joseph Joachim?

SEK 314.00
1

Antonín Dvorák: Piano Concerto g minor op. 33

Antonín Dvorák: Piano Concerto g minor op. 33

Written in one fell swoop and polished for ages: thus arose one of the most significant works of Czech piano music. Dvorák’s G-minor Piano Concerto was composed in barely two months in 1876 only to be refined for more than seven years before it finally appeared in print. As a result, Dvorák’s handwritten score abounds in changes and corrections. The 141-page autograph bears impressive witness to the work’s extraordinarily difficult gestation. Besides the original text, it contains annotations in lead, red and blue pencil as well as red ink, not to mention many passages hidden beneath pasted slips of paper. Until 1990 the score was owned by Dvorák’s heirs. At the instigation of thepianist András Schiff and with his generous financial support we can now present the first complete facsimile edition of this exhilarating document in a high-quality reproduction that uncannily resembles the original to the last jot. Readers are invited to track down and follow the stages in the work’s genesis. An ideal gift for the “Dvorák Centenary Year” in 2004 … and of course there after as well.

SEK 1692.00
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Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations, Beethoven sometimes lets the piano appear alone, and sometimes has it rest. In places the mood is that of a sort of funeral march, and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio”, the later of the two, was a reworking by Beethoven himself of his op. 20 Septet. He provided as also in the case of op. 11 an alternativeviolin part, in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition, which just as back then- makes it doubly valuable.

SEK 520.00
1

Dvorak: Humoresques Op 101 Piano

Dvorak: Humoresques Op 101 Piano

In the summer of 1894, Antonín Dvořák interrupted his stay in America in order to spend his holidays back in his homeland of Bohemia. During those happy weeks, he wrote his eight Humoresques for piano. But this music is not by no means as “Bohemian” as one might suppose. We know that Dvořák had already sketched some of the material for these pieces in New York, and there are also indications that the composer initially considered writing a series of Scottish dances. In other words, these are thoroughly international pieces, with an inflexion all of their own. And they are of a medium level of difficulty, enabling pianists of all ages to discover a lot more than just the famous, catchy tune of no. 7. This Henle Urtext edition is based on the first print, which the editors have carefully checked against the autograph.

SEK 165.00
1

Frederic Chopin: Mazurkas (Henle Edition)

Frederic Chopin: Mazurkas (Henle Edition)

Frédéric Chopin is known worldwide as one of the leading musicians of the Romantic era. This collection of Mazurkas features all 57 of the Polish virtuoso pianist’s works written in this genre for the solo Piano. Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death. His Mazurkas , while originating in the Polish dance (the ‘mazurek’), differ from the traditional variety in that they were written for the concert hall rather than the dance hall, so that it was Chopin who put the mazurka on the European musical map. These mazurkas signalled new ideas of nationalism, and influenced and inspired other composers to support their national music. This Urtext edition is based on many different sources and follows the current state of research to present the pieces in a form as close to the original intentions of the composer as possible. The comments at the end of the volume give detailed information about the sources and their deviations, and an appendix with the first versions of certain works is also included. Most of the pieces are quite brief and thus perfect for any skilled pianist’s repertoire.

SEK 446.00
1

Franz Schubert: String Quartet A Minor Op. 29 D 804 (Rosamunde)

Franz Schubert: String Quartet A Minor Op. 29 D 804 (Rosamunde)

The quartet in a minor is one of the chamber music works with which Schubert wanted to “pave the way to the great symphony” in spring 1824. At the same time he was paving his way to a wider audience, as the “Rosamunde” Quartet was the first and only string quartet that was not only publicly performed in Schubert’s lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert’s incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 no. 3, in which Schubert later once again took up the beautiful melody.

SEK 234.00
1

W.A. Mozart: Piano Sonata In D K.284 (205b) - Urtext

W.A. Mozart: Piano Sonata In D K.284 (205b) - Urtext

The Sonata in D major is the last of the Six Sonatas K. 279?284 that Mozart had in his luggage when he set off for Paris in September 1777. He had already successfully performed this music in Munich, Augsburg and Mannheim, a fact he proudly told his father back at home. He gave the works particularly rich dynamic markings and also found unusual solutions concerning their formal aspect, for instance having a slow Rondeau en Polonaise as the middle movement of the Sonata in D major. The six sonatas, which were previously only published together in the complete volumes (HN 1 and 3), are now all available as single editions with new prefaces. Mozart dedicated this Sonata to a Freiherr Thaddäus von Dürnitz ? which is why it has often been called the Dürnitz-Sonata. It is undoubtedly the best, the most brilliant and the most technically demanding of these six early Sonatas. Understandably, Mozart retained a special affection for it and continued to perform it himself. It was this Sonata of which he said that it sounded incomparable on Stein?s new fortepianos.

SEK 176.00
1