Max Reger - Accordarbeiter

Sonata no. 1 in d minor op. 109

Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for Cello and Piano in early 1917, thus realising a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the Cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré’s complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas, a master of his craft, supplied the markings in the Cello part.

Thematisch-chron. Verzeichnis der Werke Max Regers : Chronological thematic catalogue of the works of Max Reger

Kol Nidrei Opus 47 for Violoncello and Orchestra

Aside from his popular Violin Concerto no. 1, “Kol Nidrei” numbers among Max Bruch’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “Kol Nidrei” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “Kol Nidrei” appears for the first time in an Urtextedition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part.

Robert Schumann: Concert Piece For Four Horns And Orchestra Op.86 (Piano Reduction)

Composed in 1849, Robert Schumann 's Concert Piece For Four Horns And Orchestra Op.86 is still considered a romantic work for Horn par excellence and a benchmark for all soloists. 'Something quite curious, I believe' – it was thus that Schumann described his Concert Piece For Four Horns And Orchestra in a letter, and he did indeed break new ground with this work as far as the scoring and treatment of the instruments was concerned. At the time in which the work was composed the French horn was still fairly new, enabling players to play previously unheard-of runs and free modulations, a fact which Schumann made the most of, particularly with his scoring for four Horns.

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.

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.

Variations In F Minor

Haydn’s last piano work is also considered to be his most famous single work for this instrument. The minor theme is filled with emotional depth: “a melancholy andante in f minor, with variations, as only a genius can do them, that almost sounds like a free fantasia” (thus described in a review of the time). The form is also demanding: not merely one theme but two one in a major key, the other in a minor one are varied in turn. The autograph gives one to believe that the work was originally intended to be the first movement of a sonata. This single edition has been taken from the recently revised volume of “Piano pieces” (HN 224) and furnished with a detailed commentary.Henle also recently published a facsimile of Haydn’s autograph of the Variations in f minor: HN 3218.?

Klaviertrio Nr. 2 c-moll Opus 66 : Piano Trio no. 2 in c minor op. 66

After the great success of his first Piano Trio in d minor op. 49, some five years passed before Mendelssohn set to work on a new composition for this formation. But then the c-minor Trio came into being in a relatively shortperiod in March/April 1845 and was published around a year later. Much more sombre in character than the sibling work, this second trio is also considered much more difficult in terms of technique (above all in the piano part).Thus, it has always stood somewhat in the shadow of the earlier trio. However, chamber music aficionados generally regard it as the more mature and challenging work in terms of compositional technique. The trio, taken from thevolume Mendelssohn · Piano Trios HN 957, is now available from Henle for the first time also as a practical single edition.

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.

Rondo Capriccioso Op.14

Ullrich Scheideler has edited one of Mendelssohn’s most important and beautiful piano works, comparing it again with the sources. Henle Publishers is now issuing it in a revised edition with his comprehensive commentary. The sparkling bravura piecewas called an “Etude” in the first version of 1828. Two years later Mendelssohn wanted to present the work to the young piano virtuoso Delphine von Schauroth, whom he was courting at the time. He reworked it under the new title “Rondo capriccioso”,making it even more brilliant and adding a “moving introductory adagio” (thus described in a letter to Fanny). In this form, the work still presents all good pianists with a rewarding challenge.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

String Quartet Op. 3

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet. Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin’s String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico”, is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato”, into a brilliant finale, “Molto allegro e sarcastico”, that is suffused with elements of fugato and, like all movements, informed bydodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015–16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

Romance in F major : Romance in F major for Violoncello and Orchestra

Just a few months after completing his Cello Sonata op. 6, Strauss composed another work for this instrument: a Romance for cello and orchestra, which remained unpublished during his lifetime. According to the autograph manuscript, the composition was finished on June 27, 1883, and Strauss also prepared the piano reduction himself. The Romance is regarded as one of Strauss’ most mature youthful works, though it was long overshadowed by the cello sonata, despite several quite successful performances given by the then-famous principal cellist of the Munich Court Orchestra, Hanuš Wihan. Only since the posthumous first edition of 1986 has the music world been rediscoveringthis striking work, which now also appears in a Henle Urtext edition.

Edward Elgar: Salut D'Amour Op. 12 For Violoncello And Piano

Edward Elgar ’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. The short work also had a special significance for the composer. Caroline Alice Roberts had been having Piano lessons with Elgar since 1886. Their teacher-pupil relationship soon blossomed into love and they became engaged in 1888. It was in this year that Elgar composed “ Salut D’Amour ” for his bride, initially with the German title “Liebesgruß”. They got married in 1889 and the work was published at the same time. Henle are now publishing this moderately difficult, immortal classic in the original versions for Violin and Piano, Violoncello and Piano (HN1189) and Piano solo (HN1190).

Die Sieben letzten Worte unseres Erlösers am Kreuz : Hob. XX/2, Vokalfassung, Wissenschaftliche Gesamtausgabe, Kritischer Bericht, Reihe XXVIII, Band

Written entirely in German. When Haydn stopped in Passau on his second journey to England, he heard a vocal version of his own orchestral work The Seven Last Words. It had been made by the Kapellmeister at Passau cathedral JosephFriebert and Haydn was quite impressed - except: I believe I could have done the voice parts better. He acquired a copy and set about making his own vocal version, taking over most of the text. Haydn particularly liked his ownvocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.

Bernhard Henrik Crusell: Clarinet Concerto In E-Flat Major Op.1

This edition completes Henle's series of all three Clarinet concertos by the Swedish composer and clarinettist Bernhard Henrik Crusell . Issued in Leipzig in 1811, the  Clarinet Concerto In E-Flat Major Op.1 was  Crusell 's first published work but had definitely been composed several years prior to this. With its elegant head movement and the simple and moving Adagio, it is probably the most “Mozartian” of all of his three concertos, although the final rondo is reminiscent of Carl Maria von Weber. The editor and clarinettist Nicolai Pfeffer is now presenting this charming work, between Classicism and Romanticism, on the basis of the first edition. The Piano reduction wonderfully fits the hands and was prepared by Johannes Umbreit on the basis of the original orchestral parts.

Carl Philipp Emanuel Bach: Flute Sonata A Minor Wq. 132

There are many unanswered questions surrounding Carl Philipp Emanuel Bach 's Flute Sonata A Minor Wq. 132 . For whom was this solo work written? The addressee of the sonata is frequently thought to be King Friedrich II of Prussia, yet Bach would not have made music that was exclusively intended for the king available for all. The intrigue is heightened by the fact that this sonata for Flute solo was published twice in the 1760s. The riddle is not to be solved. Today this three-movement work is one of the solo pieces that all flautists have to have played once – it is truly regal music. This Henle Urtext edition features informed comments on performance practice by the flautist Karl Kaiser.

Klaviertrio Opus 6

Since 2019, G. Henle Publishers has been the proud agent for Evgeny Kissin’s compositions, which have reached work number 6 with this Piano Trio composed in 2022. Following piano pieces, a violoncello sonata, a string quartet and vocal works with piano accompaniment, with this Trio Kissin presents us with his contribution to another important classical genre. The technically demanding three-movement composition was written against the backdrop of the war in Ukraine. In dramatic, gripping musical language Kissin describes here the horrors of the battlefield, but also gives moving expression to the hope for an early peace. The trio, which he has already performed on numerous occasions with his musician friends, has thus became his most personal work to date.

Rondo A Minor K. 511

“A rondo for piano solo,” noted Mozart in his personal work catalogue on 11 March 1787 and there is little more to add about the origins of this piece, which Mozart sent off to print shortly thereafter. With its playful yet slightly melancholic character, it is one of Mozart’s most outstanding works for the piano.

Klavierkonzert Nr. 4 c-moll Opus 44 : Piano Concerto no. 4 in c minor op. 44

Despite its unusual form - a structure with two sections, each comprising two movements that are to be played without interruption - this work from 1875 enjoyed great success from the start. In its balanced proportion of solo part to orchestra, it corresponds almost perfectly to the model of the “symphonic concerto” and numbers among the most popular concerti by this French composer. For the first edition of 1877, no less a figure than Gabriel Fauré undertook the piano transcription of the orchestral part - an optimal basis for Johannes Umbreit’s piano reduction for the first Urtext edition ever of this work. As for the Piano Concerti no. 2 and no. 5 already issued by Henle, Pascal Rogé, one of the greatest experts on Saint-Saëns’ piano works, also provided the fingerings for this edition.

Sonata for Violoncello and Piano Op. 2

This single-movement sonata for cello and piano, Evgeny Kissin’s Opus 2, evokes a sombre, melancholic ballad. The approximately ten-minute work from 2016 places high demands on both instrumentalists in its execution. Having rehearsed the sonata in close consultation with the composer and performed it, Steven Isserlis contributes fingerings and bowings in an additional cello part. A marvellous addition to the cello repertoire! This single-movement sonata for cello and piano, Evgeny Kissin’s Opus 2, evokes a sombre, melancholic ballad. The approximately ten-minute work from 2016 places high demands on both instrumentalists in its execution. Having rehearsed the sonata in close consultation with the composer and performed it, Steven Isserlis contributes fingerings and bowings in an additional cello part. A marvellous addition to the cello repertoire!

Domenico Dragonetti: 'The Famous Solo'

Once Dragonetti 's showpiece, 'The Famous Solo' is largely unknown today. This cannot be down to the virtuoso work itself, but is more likely due to the unclear source situation with its different versions. In this Henle Urtext edition Tobias Glöckler presents the composer's autograph arrangement for Double Bass and String Quartet for the first time.

Quintet in b minor op. 115 : Quintet in b minor op. 115

Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Mühlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing – and presumably with a view toward further dissemination of the work – an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorised by Brahms. The Henle Urtext edition, revised according the text of the New Brahms Complete Edition, thus also includes the alternate viola part. In abrief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.

Souvenir d'un lieu cher op. 42 : with marked and unmarked string part

“Memory of a dear place” is the title given to this collection of three enchanting pieces for violin and piano. The “place” in question was the country estate of Brailov that belonged to Tchaikovsky’s patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky’s matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In thecourse of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d’un lieu cher was only added after Tchaikovsky’s death.