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Debussy: Valse Romantique Piano Book

Debussy: Valse Romantique Piano Book

In his youth, when still searching for his own personal style, Debussy composed a series of short, stand-alone piano pieces. He took traditional genres such as the ballade, mazurka, nocturne and waltz, but in general used each of them just once, as if trying them out. One such was the “Valse romantique”, published by Choudens of Paris in 1891 and thus written at the same time as his famous piano works Two Arabesques and the Suite bergamasque. This charming waltz is of moderate difficulty and thus ideal either as a pedagogical piece or for concert performance. Our collected volume Debussy: Piano Pieces (HN 404) offers numerous other short piano pieces of modest difficulty for those who find that this practical, stand-alone edition awakens in them a desire for more.

SEK 102.00
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Erik Satie: Sonatine Bureaucratique

Erik Satie: Sonatine Bureaucratique

Although Satie took the classical form as a model for his ?Sonatine?, it is quintessentially an ironic work. The composer, who later in life liked to be seen walking through the streets wearing a stiff collar and bowler hat, included lines of text between the staves that describe the day of a typical Parisian bureaucrat. The bureaucrat sits in a chair with green silk sleeve guards and dreams of being promoted. ?Next door a piano is playing Clementi?? and at this point parodied echoes of Clementi?s popular Sonatine op. 36/1 can actually be heard. Ulrich Krämer provides knowledgeable background information in the preface to our edition that will enable a better understanding of Satie?s work.

SEK 128.00
1

Brahms: Waltz Op 39 No 15 Original & Simplified Piano

Brahms: Waltz Op 39 No 15 Original & Simplified Piano

“Do you love Brahms?” The majority of music lovers will answer “yes”, and they might be thinking of the Waltz op. 39 no. 15 – its gently rocking melody is one of Brahms’s most famous inspirations. Both original versions of this popular miniature for piano solo are now offered by G. Henle Publishers in a practical, stand-alone Urtext edition. The more demanding version in A-flat major (taken from HN 1286) is followed by Brahms’s own easier arrangement in A major (from HN 1287). A must for every Brahms lover!

SEK 102.00
1

Dvorak: Humoresque In G Flat Op 101 No 7 Piano

Dvorak: Humoresque In G Flat Op 101 No 7 Piano

Many a pianist will be surprised to learn that Dvořák’s famous Humoresque no. 7 was originally a piano piece, since this irresistible melody – undoubtedly one of Dvořák’s happiest inspirations – has circulated throughout the musical world in innumerable arrangements for every conceivable combination. The composer himself, however, wrote only this piano solo version. The complete cycle of eight Humoresques is available in another Henle Urtext edition (HN 1044), while this “lollipop” of the eight is now available in a stand-alone edition. Not least because of its only moderate difficulty, it is a must for piano fans of all ages!

SEK 102.00
1

Max Reger: Streichtrios Op. 77b Und 141b

Max Reger: Streichtrios Op. 77b Und 141b

Max Reger 's two String Trios stand alongside Mozart's Divertimento in E-flat major (K. 563) and Beethoven's Op. 9 trios at the pinnacle of the genre. In their style and technical demands Reger has clearly taken these admired classical forebears as his guide. Both trios are classicist in nature and delight the listener with their relaxed and occasionally even joyful character. No wonder that they proved highly successful at their premières in 1904 and 1915! For his edition, the Reger specialist Michael Kube has examined the autograph scores and the first editions of both works. This edition in parts also comes in a miniature score with exactly the same text, published in Henle's Study Score Series (HN 9722).

SEK 393.00
1

Joseph Haydn: Fantasia In C (Capriccio) Hob. XVII:4

Joseph Haydn: Fantasia In C (Capriccio) Hob. XVII:4

Composed in early 1789, during a 'whimsical hour', Haydn 's Fantasy In C Major was intended to meet with approval from 'both connoisseurs and amateurs' – not least because it is 'not too difficult'. When Haydn switched from the Harpsichord to the Fortepiano in the 1780s, he found he had a rich palette of sound colours and dynamic variations at his disposal - something which he employed enthusiastically in this piece. In this Henle urtext Edition, Christine Schornsheim provides historically accurate fingerings. This stand-alone edition follows the musical text of the Haydn Complete Edition, and provides an ideal means for players to get to grips with Haydn 's experiments with the sounds of the Piano.

SEK 139.00
1

Johann Sebastian Bach: Three Sonatas for Violin and Piano (Harpsichord) BWV 1020, 1021,1023

Johann Sebastian Bach: Three Sonatas for Violin and Piano (Harpsichord) BWV 1020, 1021,1023

These three separately transmitted sonatas hide some attribution problems. BWV 1020 (the Sonata in g minor) is quite possibly by Bach’s son Carl Philipp Emanuel, and today is mostly played on the flute even though the sources assign it to the violin. It is interesting, however, that d1 is the lowest melodic note in the piece, which might mean that it is a flute arrangement of a violin sonata. The other two sonatas also stand on an uncertain footing in regard to their sources. On the other hand, their elegant slow movements are crafted with a melodic mastery such as is often found in Johann Sebastian Bach’s music. As long as there is no definitive evidence for attribution toanother composer, we shall continue to respect the traditional attribution to “Father” Bach.

SEK 324.00
1

Frédéric Chopin: Scherzi

Frédéric Chopin: Scherzi

Frédéric Chopin’s 4 Scherzi are high points in the Romantic piano repertoire. Chopin here takes a traditional genre and fills it with radically new content. They are wild, demonic in tone, and there is little about them that is joke-like, despite the original meaning of their title. Referring to the 1st Scherzo, Robert Schumann asked: “how should seriousness be attired, when even a ‘joke’ is veiled in black?”. Now that the Scherzi nos. 1–4 have been published in revised stand-alone editions, G. Henle Publishers is now offering all four in paperback and hardback, in an edition that reflects the current state of Chopin research. Both the footnotes and the extensive Critical Report on the Internet offer detailed information on the familiar topic of “Chopin variants” and on all the textual problems they raise. This is Chopin in top form!

SEK 292.00
1

Chopin: Scherzo In C Sharp Minor Op 39 Piano

Chopin: Scherzo In C Sharp Minor Op 39 Piano

Chopin’s Scherzo no. 3 was connected to his legendary winter in Mallorca in 1838/39, as were his Préludes op. 28. On 22 January 1839, the composer sent the autograph of the latter work to Camille Pleyel in Paris, and at the same time announced further works that would soon “flood” the recipient of his letter, including the Scherzo no. 3. Did perhaps its alternation of passages with furious octaves and a grave chorale reflect Chopin’s mood at the time? That’s a question players will have to decide for themselves. This revised stand-alone Urtext edition is based on the first editions and on a manuscript copy. Footnotes and a condensed Critical Report offer information on the many variants in the history of its musical text, while a comprehensive Critical Report can be downloaded online. This is an Urtext edition that leaves nothing to be desired.

SEK 155.00
1

Frédéric Chopin: Scherzo In E Op. 54

Frédéric Chopin: Scherzo In E Op. 54

Chopin published his Scherzi nos. 1–3 at more-or-less regular intervals, in 1835, 1837 and 1840 – almost as if he’d planned them in advance. He published his fourth and final work in this genre after a further three years, in 1843. When compared with its predecessors, which were largely bleak in mood, this Scherzo no. 4 is surprisingly cheerful. With its sparkling runs and its chains of chords like dappled brush strokes, this work seems to summon up the fairy-like spirit of Mendelssohn’s scherzi. In editorial terms, however, it is problematical. Three parallel first editions were published – in Germany, France and England – and the many variants between them have to be investigated one at a time to determine their authenticity. This is a task that has been solved meticulously in this revised, stand-alone Urtext edition, which explains the transmission of this work in an exemplary, transparent manner for today’s pianists.

SEK 155.00
1