Morceau de Concert f-moll Opus 94

As with Schumann’s "Concert Piece for four Horns" op. 86 (HN 1138) Saint-Saëns’ "Morceau de Concert" was also composed with the idea of exploiting the technical possibilities of the new valve-horn mechanism. In this case, the French horn player HenriChaussier provided the impulse. He had developed a novel “Cor omnitonique” and wanted to demonstrate the merits of his instrument with Saint-Saëns’ composition. Chaussier’s invention did not gain acceptance amongst horn players although the"Morceau de Concert" did! From today’s standpoint the popular work with one movement is not overly demanding technically; in addition, Saint-Saëns himself suggested two abridgements to simplify the piece, meaning that even advanced pupils can ventureto play it.

Années de pèlerinage : Première Année - Suisse

The three volumes of the “Années de pèlerinage” belong to the core of Liszt’s piano oeuvre. In the first volume, “Suisse”, the composer realised impressions of an extended sojourn in Switzerland in 1835/36. The pieces, for themost part published already in 1840/41, were later substantively reworked by Liszt, and the collection enlarged by two numbers, until it received its final form in 1855. For the revision of the Henle Urtext edition, it waspossible for the first time to also take into account the engraver’s copy of the first edition that was once again accessible. The resulting modification in the weighting of the sources and further important new findings in Lisztresearch are presented in detail in the preface and the comments. We were able to enlist the Swiss pianist Francesco Piemontesi for the fingerings.

Chanson de Nuit - Chanson de Matin Opus 15

Chanson de Nuit

Manuscrits de Musique Polyphonique

Trois Études de concert

Années de pèlerinage, Troisième Année

Morceaux de Fantaisie Opus 3

Années de pèlerinage - Deuxième Année - Italie

Introduction Et Rondo Capriccioso Op. 28

This highly virtuosic concert piece, composed in 1863, is one of the works that Saint-Saëns wrote especially for his friend Pablo de Sarasate. The great violin virtuosos of the 19th century delighted their audiences with it -first the dedicatee himself, then later, most notably, Eugène Ysae. It's a kind of fantasy waltz in the Spanish manner, enchanting in its effect, wrote a music critic back in 1876. Today, this work is in the repertoire of all thegreat violinists. The Henle Urtext edition is the first-ever critical edition of this work. The solo part has been annotated by Augustin Hadelich.

Four Piano Pieces Op. 1

Welcome to G. Henle Publishers, dear Maestro Kissin! We are honoured and proud to be able to publish the first three opuses by world-renowned, inspired pianist Evgeny Kissin, who for some years now has turned to composing in earnest. The first of these compositions – which, with this author, ought to surprise no one – is a cycle of four piano pieces. The “Toccata”, an insanely virtuosic tour de force in a jazz-inspired idiom, has already occasionally been heard performed as an encore at his concerts. With their titles, “Meditation” and “Dodecaphonic Tango” perfectly illustrate the respective moods of these expressive character pieces. The unpretentious “Intermezzo” grantsperformer and audience a brief moment of contemplation before the “Toccata”. Welcome to G. Henle Publishers, dear Maestro Kissin! We are honoured and proud to be able to publish the first three opuses by world-renowned, inspired pianist Evgeny Kissin, who for some years now has turned to composing in earnest. The first of these compositions – which, with this author, ought to surprise no one – is a cycle of four piano pieces. The “Toccata”, an insanely virtuosic tour de force in a jazz-inspired idiom, has already occasionally been heard performed as an encore at his concerts. With their titles, “Meditation” and “Dodecaphonic Tango” perfectly illustrate the respective moods of these expressive character pieces. The unpretentious “Intermezzo” grantsperformer and audience a brief moment of contemplation before the “Toccata”.

21 Etüden für Violoncello : 21 Etudes for Violoncello

“More than 20 years ago I was called upon by friends, artists, and aficionados to write about fingerings for the violoncello,” then-famous Berlin cellist Jean-Louis Duport thus opens his “Essai” from 1806, dedicated to “Professeurs de Violoncelle”. His methodology revolutionized cello technique, and the 21 etudes printed in its appendix are still regarded today as perhaps the most important set of studies for all budding cellists. Modelled after the volumes of etudes for violin, Henle is also issuing the Urtext here, together with all original fingerings and bowings, while also offering alternatives by the famous cellist and teacher Wolfgang Emanuel Schmidt. This edition also offers a second cello part provided by Duport for accompaniment.

Undine - Sonata For Piano and Flute Op. 167

From among Reinecke’s abundant oeuvre, a very few works have from the beginning maintained their position in the concert repertoire. First and foremost among these is the Flute Sonata op. 167 with the sobriquet “Undine”, composed in 1882 and inspired by the eponymous fairy tale by Friedrich de la Motte-Fouqué about the ill-fated love of a mermaid. It is not, however, meant programmatically, but rather, like Schumann’s poetic titles, as a framework of associations for this highly romantic, in places very virtuoso sonata in traditional, four-movement form. As the autograph is lost, the printed editions form the basis for the new critical edition of this sonata, which is solidly anchored in the flute repertoire and is now finally available as a Henle Urtext edition.

Joseph Haydn: Streichquartette Op.42/50 (String Quartet)

Joseph Haydn: Stråkkvartetter Op. 42 & Op. 50 – Klassiska Mästerverk för Stråkkvartett Utforska den klassiska musikens rika arv med Joseph Haydns Stråkkvartetter Op. 42 & Op. 50. Dessa verk är några av de bästa exemplen på stråkkvartettgenren och visar Haydns enastående förmåga att skapa balanserade och harmoniskt rika kompositioner. Perfekt för framträdanden och studier. Specifikationer: Kompositör: Joseph Haydn Innehåll: Stråkkvartetter Op. 42 och Op. 50 (Hela samlingen eller utvalda satser) Instrumentering: 2 fioler, altfiol och cello Svårighetsgrad: Medel till avancerad Format: Notbok med partitur och stämmor Förlag: [Ange förlag] Haydns kvartetter är kända för sin melodiska skönhet, harmoniska komplexitet och subtila humor. Denna samling är perfekt för ensembler som vill utmana sig själva och samtidigt njuta av musiken från en av den klassiska periodens mest inflytelserika kompositörer.

Sergei Rachmaninow: Prélude C Sharp Minor Op.3 No.2

Prélude C Sharp Minor Op.3 No.2 is possibly Sergei Rachmaninow 's most famous late romantic Piano work and is now finally available as a Henle Urtext edition. First published in 1892, as part of the Piano cycle 'Morceaux de Fantaisie' Op. 3, the work soon became well known abroad, in particular due to the concert tours given by the pianist Alexander Siloti, Rachmaninow ’s cousin. Even Rachmaninow himself was soon no longer able to perform any concerts in America without someone in the audience crying out 'C sharp minor!' at the end. The thundering chords of the final part of this work are legendary and at the same time not as unplayable as one might have been led to believe.

60 Variations on Barucabà

Nicolò Paganini numbers among the few musicians who attained fame by playing and writing for only a single instrument. His works for violin solo are unique, and his appearances as virtuoso fascinated audiences from the very beginning. Yet, in addition to the violin, Paganini also learned to play the guitar as a child. And before travelling throughout the world he must have got to know the Genoese song “Barucaba” in his hometown of Genoa, writing his op. 14 Variations for violin and guitar upon this song in 1835. We were able to engage musicologist Alberto Cantù and violinist Renato De Barbieri as editors of our Urtext edition of this chamber music work. Barbieri’s helpfulfingerings in the violin part round off the edition.

Romance in D flat major op. 37

The Romance for a melodic instrument and Piano was a very popular genre in French salon music of the nineteenth century. Saint-Saëns also wrote several such pieces for Violin, Cello, and Horn. His only Romance for Flute was composed in 1871, shortly after the Société nationale de musique had been founded. It was premiered in this new forum for Piano music and chamber works a year later, too. In spite of its brevity, the piece contains numerous harmonic and melodic refinements, which rapidly made it popular among flautists – both in the original setting with Piano accompaniment as well as in the later orchestral version. The Henle Urtext edition is the firstcritical edition of this piece, which is also very popular with learners of the Flute.

Variationen f-moll (Sonata) Hob. XVII:6 : Variations f minor (Sonata) Hob. XVII:6

It was by a roundabout route that the autograph score of Haydn’s most important piano work ended up in the New York Library via a collector. Its four leaves contain a fair copy of the work- two leaves with a sketch-like character follow. Haydn composed the work, at the time still entitled “Sonate”, for “Signora de Ployer” (probably the pianist Barbara Ployer associated with Mozart). The variation movement was apparently intended as the beginning of a sonata with several movements. As can be seen from the second part of the autograph score, Haydn later extended the movement and ended it with an expansive Capriccio Coda. The first print already bears the title “Variations”. Themoving masterpiece has been played all over the world under the title “Variations in f minor” ever since.

Oboe Concerto in D major

“Oboe Concerto 1945, inspired by an American soldier, (oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer’s involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for awhile, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction! “Oboe Concerto 1945, inspired by an American soldier, (oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer’s involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for awhile, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction!

42 Etudes for Violin

Published in early 1806, Kreutzer’s “40 Études ou Caprices” for Violin – there are 42 today – are the product of his years-long employment at the Conservatoire de Paris and are the most comprehensive collection of studies from his quill. Their systematic and complete reappraisal of essential Violin technique make them an indispensable tool of the trade for every serious student of the Violin (conservatory level). In the intervening two centuries, numerous reprints by various publishers followed the Parisian first edition, frequently adapted by famous soloists and teachers. Just a few years after the first edition, Kreutzer published a completerevision of this standard work in which he exchanged or heavily altered etudes. This second version of the collection forms the basis for our Urtext edition, which nevertheless presents the variants from the early edition as well. The virtuoso and sought-after Violin pedagogue Ingolf Turban acted as a consultant for this edition and furnished it with modern markings so that it provides an ideal foundation for contemporary Violin instruction.