Henle

BWV 1027-1029

Bach’s 6 French Suites are presented here in their later embellished form.

The Inventions and Sinfonias were conceived not only as works of perfect artistic craftsmanship, but as pedagogical aids to beginners in both performance and composition. They demonstrate how whole movements can be formed out of a single, well designed idea (or “invention”) by one who has mastered the art of counterpoint.

The “Six little Preludes for Beginners” were composed by J.S. Bach for his pianoforte pupils, followed by the little fugues and preludes which, along with their fughettas, served as preparation for the more difficult works of the “Well Tempered Clavier”.

“The present edition, which refrains from all editorial directions that hamper the player, restores to the Well-Tempered Clavier the freedom of interpretation proper to the Baroque period.”

Alongside Bach’s Solo Suites, a further highlight for cellists are Beethoven’s five Cello Sonatas. They were published between 1797 and 1817 and thus cover a large part of Beethoven’s compositional lifetime, mirroring important stages of his musical development. Our revised edition incorporates the findings contained in the critical report of the Beethoven Complete Edition which was compiled at the same time. The Urtext edition has been re-engraved, but the proven page layout of the previous edition has been preserved. The renowned cellist David Geringas provided completely new fingerings and bowings for the cello part, which also has excellent page turns. An unmarked Urtext part is also included.

Domenico Dragonetti's Zwolf Walzer or Twelve Waltzes Op.67 for Double Bass Solo. Edited by Tobias Glockler.

Along with the Stamitz concerto, Hoffmeister‘s Viola Concerto is the most important audition piece for viola players. Yet, it has been handed down in a complicated source tradition, surviving in a single contemporary manuscript covered with many layers of markings. Our piano reduction reconstructs, for the first time, the earliest textual layer in this source, thereby coming as close as possible to Hoffmeister‘s actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!

This is the first volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.301-306, also known as the Kurfustin Sonatas Op.1 . This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert, with fingerings by Walther Lampe and Karl Rohrig, and provides you with the most accurate realisation of the composer’s original intentions, with thoroughly comprehensive and detailed editorial markings and suggestions.

This is the second volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.296 and K.376-80, also known as the Aurnhammer Sonatas Op.2 . This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert, with fingerings by Walther Lampe and Karl Rohrig, and provides you with the most accurate realisation of the composer’s original intentions, with thoroughly comprehensive and detailed editorial markings and suggestions.

This is the third volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his five sonatas for Piano and Violin K.454, K.481, K.526 and K.547, also known as Die spateren Wiener Sonatas , and also includes the Violin Sonata In B Flat K.570 . This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert, with fingerings by Walther Lampe and Karl Rohrig, and provides you with the most accurate realisation of the composer’s original intentions, with thoroughly comprehensive and detailed editorial markings and suggestions.

Schumann: Variations on a Theme (Ghost Variations) It was in February 1854, a few weeks before Robert Schumann’s admission to the psychiatric hospital in Endenich, that he wrote his variations on a theme in E-flat major. Because of the extraordinary, personal and moving events of those days, Clara Schumann guarded the manuscript pages of her husband’s final piano composition, dedicated to her and later called “Ghost Variations,” like relics, and prohibited their publication. The first edition was not published until 1939, and in many respects does not correspond with what Schumann actually wrote down. For the first time, the Henle Urtext edition draws upon all the available primary sources, and thus is effectively the only reliable Urtext edition of a work that in recent years has been heard with increasing frequency.