G. Henle Verlag

  • Beethoven – Piano Sonatas, Vol. 1

    The two-volume Henle Urtext edition of Beethoven’s piano sonatas (HN 32 and HN 34) has established itself over the decades as the standard and reference edition among pianists worldwide.
    After its publication in the early 1950s, under the responsibility of the Munich musicologist Bertha Antonia Wallner – with the support of the Bonn Beethoven Archive – this outstanding edition was quickly recognized by the pianist world as setting a benchmark. The decades of hard practical testing led to improvements and refinements, so that today this Henle Urtext edition of Beethoven’s piano sonatas is considered an undisputed reference.
    The printed fingerings of the pianist and important piano teacher Conrad Hansen are considered an important suggestion for solving technical-musical problems: “as few but advanced fingerings as possible” (Hansen).
    Alternatively, G. Henle Verlag offers the Beethoven sonatas in the printed Urtext without any fingering (HN 1032 and HN 1034), as well as a pocket score in the Study Edition series (HN 9032 and HN 9034). And in the digital edition of the “Henle Library” app, anyone interested can also find the sonatas, here combined with various subjective, selectable fingerings, namely by Eugen d’Albert, Claudio Arrau, Conrad Hansen and Artur Schnabel.
    Beethoven’s 32 piano sonatas present us with an almost inexhaustible wealth of pianistic-musical flights of fancy, mostly works that are very well-known in lessons, on stage and in recordings.
    Hans von Bülow emphasized the importance and value of Beethoven’s piano sonatas with his bon mot, they represented the “New Testament of Music”. These are deliberately the 32 sonatas with opus numbers; The 3 “Elector Sonatas” by the 13-year-old boy, WoO 47, are not considered to be part of the “New Testament”. These are available separately from Henle in Urtext (HN 255). G. Henle Verlag also offers each Beethoven sonata as a Urtext individual edition (printed or in the app).
    The characteristics of the Beethoven piano sonatas summarized in the Henle Urtext:
    Always up-to-date scientific-critical Urtext edition based on all available sources
    Music text optimizations as a result of ongoing commitment in musical practice
    All important information about text passages in footnotes on the sheet music page
    Unrivaledly beautiful and correct music image thanks to traditional hand engraving
    with fingering suggestions from Conrad Hansen (alternatives in the app)
    available in two anthologies with fingering, paperback or cloth
    available without fingering, paperback
    each sonata also available separately (printed and app)
    In order to meet the growing need for more annotated Urtext editions, but also to document the eminent Beethoven knowledge of one of the greatest living pianists of our time, Murray Perahia, G. Henle Verlag has been gradually publishing all Beethoven books for some time now. Sonatas in a parallel Urtext edition, the Perahia edition.
    Contents
    Sonata in F minor op. 2.1
    Sonata in A major op. 2.2
    Sonata in C major op. 2.3
    Sonata in E flat major op. 7
    Sonata in C minor op. 10.1
    Sonata in F major op. 10.2
    Sonata in D major op. 10.3
    Sonata [Pathétique] in C minor op. 13
    Sonata in E major op. 14.1
    Sonata in G major op. 14.2
    Sonata in B flat major op. 22
    Sonata in A flat major op. 26
    Sonata in E flat major op. 27.1
    Sonata (Moonlight Sonata) in C sharp minor op. 27.2
    Sonata [Pastorale] in D major op. 28

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  • Mozart – 12 Variations on “Ah, vous dirai-je Maman” Kv265

    Only very few works in the piano literature have become as popular as this theme with twelve variations. Mozart’s popularity began soon after his death, as evidenced by numerous handwritten copies and prints.
    There is no certain information about the circumstances of its origin. “Ah, vous dirai-je Maman” has now been conclusively dated to 1781. At that time, Mozart wanted to succeed as a prominent piano teacher in Vienna. His variations remain an excellent teaching work to this day.
    Our edition has been fundamentally revised and now also offers an extremely informative foreword by Mozart expert Ulrich Konrad. A facsimile of the work based on Mozart’s manuscript has also been published by Henle (HN 3213).

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  • 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!

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  • Beethoven – Sonatas for Piano and Violin, Vol.2

    Ludwig van Beethoven wrote his ten violin sonatas during a period of just fifteen years, between 1797 and 1812. Using our carefully revised two-volume edition of the complete sonatas, the performer can observe with fascination how Beethoven refashions, and varies, the principles of sonata form in each work.
    What makes this Urtext edition particularly valuable is the fact that all the sonatas have been edited using the surviving manuscripts as well as the original print editions personally supervised by Beethoven. When laying out the text, our editor has attempted to preserve the layout of these sources as exactly as possible. Thus Beethoven’s original notation is reproduced in strict conformity with these models, vividly elucidating the musical relationships desired by the composer.
    Along with an annotated part, an extra part without fingerings is included for violinists who want to establish their own approach to Beethoven’s violin sonatas.
    Sonate A-dur op. 30,1
    Sonate c-moll op. 30,2
    Sonate G-dur op. 30,3
    Sonate [Kreutzersonate] A-dur op. 47
    Sonate G-dur op. 96

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  • Bach – Little Preludes and Fughes

    This edition with over 50 pages contains the universally known selection of easy preludes and little fugues that has proved extremely successful in teaching the piano. Bach’s sons, with Wilhelm Friedemann and Carl Philip Emanuel leading the way, were already able to learn them.
    If you make your way through these pieces (which gradually become more challenging), you can make great progress on the piano, and what is more these 300-year-old compositions are still able to work their musical magic. Those who are technically more advanced should still occasionally sight read through them; you will then immediately see that they are real gems. Incidentally, all of Bach’s piano works are available from Henle both with and without fingerings.
    Little Preludes from the “Pianobook” for W.F. Bach BWV 924-928, 930, 931
    6 Little Preludes for Beginners on Piano BWV 933-938
    6 Little Preludes BWV 939-943, 999
    Fughetta c minor BWV 961
    Fugue C major BWV 952
    Fugue C major BWV 953
    Prelude G major BWV 902a
    Fughetta BWV 902
    Prelude and Fughetta d minor BWV 899
    Prelude and Fugue e minor BWV 900
    Prelude and Fugue a minor BWV 895

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  • Bach J.S. – Notebook for Anna Magdalena

    Bach gave his wife Anna Magdalena two handwritten books of music. The second one is of particular value with its gilt-edged, vellum-covered binding. In this little book of 1725 he noted down numerous piano works in the most different styles – both his own and by other composers. The Henle Urtext edition, which incidentally is one of our bestselling titles, faithfully reproduces the complete contents of this manuscript, aside from the movements from the “French Suites” (HN 71) und “Partitas” (HN 28) in the notebook, which can be found elsewhere in the Henle catalogue. It is also an example of beautiful engraving by hand.

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  • Chopin – Mazurken (Urtext)

    Next to the polonaises and the waltzes, the mazurkas are the third dance form which Chopin cultivated in his music. They constitute the largest of these three groups, boasting nearly 60 pieces. Chopin made use of the mazurka genre from his childhood until the last years of his life. They testify not only to Chopin’s love for his native Poland, but also to the depth of the composer’s feeling for the mentality of his people. He took inspiration from the various types of mazurka found in different regions of Poland, but sublimated them into absolute music of the greatest elegance, refined harmonies and rhythmic power.
    Content text:
    Mazurkas op. 6 (including 2 alternative versions)Mazurkas op. 7Mazurkas op. 17Mazurkas op. 24Mazurkas op. 30Mazurkas op. 33Mazurkas op. 41Mazurkas op. 50Mazurkas op. 56Mazurkas op. 59Mazurkas op. 63Mazurkas op. 67Mazurkas op. 68Mazurkas KK IIa, 2,3Mazurkas KK IIb, 4,5Mazurkas KK IVb, 1-4Appendix: Mazurka op. 7,4aAppendix: Mazurka KK IVa, 7Appendix: Mazurka op. 7,2a
     

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  • Lalo – Symphonie Espagnole D-minor Op.21

    The Symphonie espagnole for violin and orchestra, perhaps Lalo’s best-known composition, is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms of applause from the Parisian audience and marked Lalo’s breakthrough.
    He wrote the work for his friend Pablo de Sarasate, who played it at his concerts and quickly made it known throughout Europe. This edition is the first to make use of Lalo’s autograph manuscripts.

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  • Beethoven – Concerto for Piano and Orchestra No.3 C-moll Op.37

    Ludwig van Beethoven composed his five large piano concertos over a period of twenty-five years. When the composer sold his first two piano concertos in late 1800, he mentioned that he had even “better” ones which for the time being he was keeping for himself until he went on tour. He probably meant a concert tour with the just finished Third Piano Concerto in c minor, which is presented here in a piano reduction. The edition, of our customary Urtext quality, is arranged for practical use and based on the Beethoven Complete Edition, for which Beethoven’s autograph served as the source. The detailed editor’s preface – by Beethoven scholar Hans-Werner Küthen – concludes with valuable information about the edition.

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  • Schumann – Sonata g-Moll Op.22

    “I am endlessly looking forward to the second sonata”, thus Clara wrote to Robert in 1838, “Your whole being is so clearly expressed in it.” Nonetheless, she encouraged him to revise the last movement in the same letter, which provided the composition with a completely new finale. The first two movements were also reworked several times. The editor assiduously provides information on the complicated genesis of the work in this new edition. The musical text is not only followed by the original final movement, which is musically and pianistically very demanding but also the model for the second movement: Schumann made an arrangement of one of his own songs (“In the Autumn”) for the piano.?

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  • Beethoven – Complete Bagatelles

    Whenever one speaks about Beethoven’s piano music, it is usually his sonatas that come to mind. However, his other works for this instrument are of no less significance.
    Thus it is not a coincidence that Beethoven published the majority of his Bagatellen with an opus number, as this went hand in hand with a certain regard for the pieces in question: they represent Beethoven’s lighter, more accessible side, disproving his all too hastily attributed reputation as a master of the weighty and serious.
    Bagatelle c minor WoO 52
    7 Bagatelles op. 33
    Bagatelle E flat major op. 33,1
    Bagatelle C major op. 33,2
    Bagatelle F major op. 33,3
    Bagatelle A major op. 33,4
    Bagatelle C major op. 33,5
    Bagatelle D major op. 33,6
    Bagatelle A flat major op. 33,7
    Bagatelle C major WoO 56
    11 new Bagatelles op. 119
    Bagatelle g minor op. 119,1
    Bagatelle C major op. 119,2
    Bagatelle D major op. 119,3
    Bagatelle A major op. 119,4
    Bagatelle c minor op. 119,5
    Bagatelle G major op. 119,6
    Bagatelle C major op. 119,7
    Bagatelle C major op. 119,8
    Bagatelle a minor op. 119,9
    Bagatelle A major op. 119,10
    Bagatelle B flat major op. 119,11
    6 Bagatelles op. 126
    Bagatelle G major op. 126,1
    Bagatelle g minor op. 126,2
    Bagatelle E flat major op. 126,3
    Bagatelle b minor op. 126,4
    Bagatelle G major op. 126,5
    Bagatelle E flat major op. 126,6

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  • Beethoven – Bagatelle a-moll WoO 59 (Für Elise)

    There are probably very few piano students who have not tried their hand at this piece; it is undeniably one of the most popular classical piano pieces today. And yet unanswered questions still remain. They not only concern details in the musical text but also its famous nickname: Is “Elise”, the reading in the dedication in the autograph, even actually correct? Or should it read “Therese”?
    And whom might Beethoven have actually meant? The most recent findings with regard to these questions are documented in our Henle Urtext edition. The revised musical text is now being published in advance of the long-awaited volume “Piano Pieces” in the Complete Edition, prepared by the Beethoven scholar Joanna Cobb Biermann.

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  • Schumann – Sonata In A Minor, Op.105

    The famous, wonderful first of Schumann’s three late violin sonatas, that in a minor op. 105, was written in just a few days in September 1851. In regard to publication of the present edition, violinist Florian Sonnleitner remarked that he loved to play this one so much because “very compact in form, and in the merciless key of a minor, it is one of the most direct mirrors of Schumann’s inner life”.
    The Henle Urtext edition is based on the autograph and on Schumann’s working copy of the first printing.

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  • Mozart – Violin Concerto Nr.2 In D Major

    Mozart, Wolfgang Amadeus – Concert Nr.2 In D Major
    For Violin and Piano
     
     
     
    Editor: Wolf-Dieter Seiffert
    Piano Reduction: Siegfried Petrenz
    Fingering, Bowing, Cadenzas and Lead-ins: Kurt Guntner
    Score Pages: 23
    Violin Part Pages: 11
    Language: German, English, French
    Publisher: Henle Verlag

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  • Beethoven – Variations on Folk Songs op.105 and 107

    Beethoven Variations on Folk Songs op. 105 and 107 for Piano and Flute ( Violin ) ad lib. 
     
    Pages: 96 Book & 28 Parts
    Language: English / German
    Publisher: G. Henle Verlag

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  • Schubert – Piano Pieces / Piano Variations

    Contains the following pieces: Andante in C Major, D 29 ; 10 Piano Variations in F Major, D 156 ; Adagio in G Major, D 178 ; 13 Piano Variations in A Minor, D 576 ; Scherzo in B-flat Major, D 593, No. 1 ; Scherzo in D-flat Major, D 593 ; Fantasy in C Major (“Graz Fantasy”), D 605 A ; March in E Major, D 606 ; Hungarian Melody in B Minor, D 817 ; Allegretto in C Minor, D 915

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  • Haydn – Violin Concerto In A Major

    Haydn, Joseph – Konzert A-dur
    Hob. VIIa:3
    For Violin and Piano Reduction
     
     
     
    Editor: Güntner Thomas
    Piano Reduction: Stefan Zorzor
    Cadenzas: Franz Beyer
    Score Pages: 27
    Violin Part Pages: 16
    Language: German, English, French
    Publisher: Henle Verlag

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  • Liszt – Klaviersonate H Moll Facsimile

    1973. In Folio. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 25 pages of facsimile partitions. Text in German language. Classification Dewey: 780.26-Partitions

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  • Schubert – String Quintet C major op. post. 163 D 956

    No music lover can remain untouched by the emotional quality of this work, composed by Schubert last year. The monumental weight of the outer movements, the intimate lyricism of the “Adagio”, as well as the unusual timbre, ensure the uniqueness of this quintet.
    An additional cello, which takes on an essential melodic role, joins the classical string quartet. The editor of our new Urtext edition, Egon Voss, not only does justice to the difficult source situation; with new and convincing solutions for difficult page turns, but he also takes into account the demands of musical practice.

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  • Schubert – Piano Quintet In A Maj Op.Post.114

    Franz Schubert transformed five-song melodies from his rich output of Lieder into instrumental music. The song “The Trout” from 1817 served as a theme for the variations in his Quintet D. 667 for piano, violin, viola, violoncello and double bass, one of chamber music’s most popular works. The piece’s sunny mood – it sounds much more cheerful than Schubert’s other chamber music – comes across like an echo of the felicitous summer months of 1819.
    The then twenty-two-year-old Schubert passed these in the convivial company at Steyr in Upper Austria and subsequently set to work composing. The present Urtext edition largely follows the Viennese first edition, which likely reproduces the original version of the now-lost autograph.
    In addition, it takes into account the only manuscript source of this work, a copy by Schubert’s friend Albert Stadler. Musicians everywhere will appreciate the optimally-placed page turns in the individual parts!

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  • Mozart – String Quintets Vol. 3

    With the publication of the masterpieces K. 593 and 614, all of Mozart’s string quintets are now available in Henle Urtext. Our edition corrects several widespread misreadings of the musical text and also draws on the first printings as important sources. The first printing of the Finale from the Quintet in D major K. 593 diverges greatly from the autograph. The editors consider it probable that the print version was authorized, which is the reason why we have published both versions of the movement (to enable a better comparison it is given as an ossia version above the musical text). In the Preface and Comments, the editors shed light on the source situation of these two immortal works written in the last two years of Mozart’s life.

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  • Mozart – String Quintets Vol. 2

    In the Mozart Year 2006, Henle will begin publication of all of Mozart’s string quintets in a three-volume Urtext edition (parts and study scores). Volume II, comprising the best-known and most often played quintets in C major (K. 515), g minor (K. 516) and c minor (K. 406/516b) from 1787 is the first to appear.
    This Urtext edition contains an exciting finding: it draws upon a hitherto unknown source. Recently Ernst Herttrich, one of the two editors, found handwritten parts for these works, containing additions in Mozart’s hand – predominantly concerning dynamics and articulation. The music world is sure to eagerly await volumes I and III which are to be published in the course of the next two years.
    String Quintet C major KV 515
    String Quintet g minor KV 516
    String Quintet c minor KV 406 (516b)

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