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Thalia-Fremdsprachen schreibt: Eduard Hanslick, a much feared critic in his time, was not very complimentary following its première: the violin was no longer being played but rather “pulled about, torn asunder, beaten black and blue”. Yet he was not able to stop the triumphal march[...]

– Violinstimme: Die Edition besorgte ein ausgewiesener Mozart-Spezialist, der im Henle Verlag weitere Urtextausgaben von Mozart vorlegte (u.a. sämtliche Sonaten für Klavier und Violine, HN[...]

The solo parts of this wonderful Double Concerto for two violins and orchestra survive in a faultless fair copy by Bach that was made around 1730. The slow movement is regarded as a melodic high[...]

For the editor of an Urtext edition, Bach’s A minor violin concerto BWV 1041 presents few problems; cleanly-written original parts exist from Bach’s Köthen (or early Leipzig) period. But[...]

Antonín Dvorák’s chamber music output comprises over forty works. That he became known so quickly beyond the borders of Bohemia was due not least to the many discerning music aficionados[...]

Haydn’s concertante works written at the court of the Princes of Esterházy, reflect the skills of individual members of the Esterhazy court orchestra. Thus Haydn created the Violin Concerto[...]

In 1849 Schumann endowed three wind instruments with chamber music works: the clarinet with the “Three Fantasy Pieces” op. 73, the horn with the “Adagio and Allegro” op. 70 and the oboe[...]

Based on a novella by the Russian novelist Ivan Turgenev, Ernest Chausson's Poème for violin and orchestra was originally conceived as a symphonic poem. Gradually, it evolved into a character[...]

For the first time this celebrated concerto will now appear in a source-critical edition. Ullrich Scheideler depicts how the work evolved, describes its sources, and comments on the musical text[...]

Dvorák’s famous Symphony from the New World abounds in melodic turns and phrases that call up the atmosphere of “Indian melodies” and spirituals. Among them are pentatonic (five-tone)[...]

Ludwig van Beethoven’s two Romances for violin and orchestra in G major op. 40 and F major op. 50 are rewarding solo pieces that demand virtuoso technique and artistic sensitivity. Their simple[...]

Das im Stil von Vivaldi gehaltene Concertino erfordert Kenntnisse der 1. und 3. Lage. Es bietet beste Möglichkeiten, Schüler an erste Konzertliteratur heranzuführen und ist mit wenig Aufwand zu erlernen. Zugleich ermöglicht[...]

Every known source has been examined to produce an urtext edition, complete with preface and editorial notes to explain the work’s complex source situation. No audition candidates who want to flaunt their knowledge of the historical[...]

In 1838 Robert Schumann complained: “The piano is becoming too narrow for me. I often hear in my current compositions a lot of things that I can hardly indicate”. Thus, in 1840, Schumann dedicated himself above all to art[...]

Online-tutorial available at Henle Masterclass Good intentions are simply not good enough (to freely paraphrase Kurt Tucholsky): the arpeggione, a kind of hybrid instrument like a large bowed[...]

Max Reger’s reception of Bach was not limited to the organ and orchestra. Like Bach, Reger wanted to compose sonatas and suites for a solo string instrument that were not merely études, but[...]

Online-tutorial available at Henle Masterclass 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,[...]

Piatti’s Twelve Caprices, op. 25, are the daily bread of all advanced players of the cello: Sir Yehudi Menuhin mentioned them in the same breath with the Bach Suites. Now Henle is presenting[...]

It was only with his late works that Debussy, an unconventional innovator, turned back to tradition. In 1915 he had six sonatas for various instruments in mind. He was only to complete three of them before his death in 1918, following[...]

The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately[...]

Variations on a well-liked theme, mainly from contemporary operas, were extremely popular at the end of the 18th century. Even the young Beethoven made several contributions to this genre. We[...]

Joseph Haydn’s concertos for violoncello and orchestra stand out for their lightness and elegance. The Concerto in C major Hob. VIIb:1 was most likely written between 1762 and 1765, when Haydn[...]

Brahms’ cello sonatas are probably amongst the most beautiful that has ever been written for this instrument. The publication of the two works in the new Brahms Complete Edition has prompted[...]

Die 45 'netten Duette' sind ein leichter Einstieg in das Etüdenspiel für kleine und große Cellisten. Wenn die Tonleiter swingt, Dreiklänge nach Countrymusik klingen und rpeggien zur Begleitung einer Popballade werden, dann macht das Üben richtig Spaß[...]

Although Schumann had learnt the cello for a while in his youth, he only began to compose for this instrument in later life. Apart from the cello concerto,[...]

Notenbuch schreibt: Madrigal / Simonetti Achille|Menuett / Beethoven Ludwig van|Humoresque Ges-Dur op 101/7 / Dvorak Antonin|Wiegenlied / Dvorak Antonin|La cinquantaine / Gabriel Marie Jean|Notturno op 43/3 / Goltermann Georg|Notturno op 92/1 / Goltermann[...]

Im Unterricht besteht leider immer noch ein Mangel an einfacher und gut klingender Spielliteratur für Flöte. Dabei kann es in höchstem Maße reizvoll sein, Musik auf der Flöte zu spielen, die von alten Meistern wie Bach, Telemann oder Mozart ursprünglich[...]

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[...]

Just as in his “Trout” Quintet (D 667), “Wanderer” Fantasy (D 760), and string quartet “Death and the Maiden” (D 810), in the flute variations on[...]

Die leichtesten Stücke aus dem 'Notenbüchlein für Anna Magdalena Bach' – ausgewählt und arrangiert von Franz Ludwig. Schwierigkeitsgrad: 2

Often referred to by pianists as the “Dante Sonata”; it is the closing piece in the second volume of the “Années de Pèlerinage” (HN 174) and is now finally available as a single edition[...]