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15 favorite pieces by Beethoven, Haydn and Mozart.
LUDWIG VAN BEETHOVEN: Piano Sonata No. 8 in C minor, “Pathétique,” Op. 13 • Piano Sonata No. 14 in C-sharp minor, “Moonlight,” Op. 27, No. 2 • Piano Sonata No. 19 in G minor, Op. 49, No. 1 • Piano Sonata No. 20 in G Major, Op. 49, No. 2 • Bagatelle in A minor, “Für Elise,” WoO 59 • Six Variations on “Nel cor più non mi sento” from La Molinara by Giovanni Paisiello, WoO 70
FRANZ JOSEPH HAYDN: Piano Sonata in C Major, Hob. XVI:35 • Piano Sonata in D Major, Hob. XVI:37 • Piano Sonata in E-flat Major, Hob. XVI:49 • Piano Sonata in E-flat Major, Hob. XVI:52
WOLFGANG AMADEUS MOZART: Twelve Variations on “Ah, vous dirai-je, Maman,” K. 265 • Fantasy in D minor, K. 397 • Piano Sonata in A minor, K. 310 • Piano Sonata in A Major, K. 331 • Piano Sonata in C Major, K. 545
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Liszt wrote his two Ballades in 1845-49 and 1853 during a time of personal turmoil. The successful virtuoso increasingly saw himself as a composer who strove after formal clarity, as shown by the B minor sonata that was also composed in 1853. When Liszt began work on the first Ballade, he had just separated from his mistress of many years, Marie Comtesse d'Agoult. He called the first sketches for the work Dernières Illusions. A better-known work is the second Ballade in B minor, with whose ending he struggled (the two fortissimo endings in Liszt's autograph have been published for the first time in the appendix to our edition).
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Fingering by Marc-André Hamelin
Rachmaninoff's Prélude in D major from his op. 23 collection is a wonderfully dreamy nocturne in the style of Chopin. The engaging immediacy of its poetic magic and the fact that it is only moderately difficult make this piece an ideal introduction to the late-Romantic, colorful sound world of Rachmaninoff's 24 Préludes. The Henle Urtext editions of Rachmaninoff's music are based on the autograph sources in the Glinka Archive in Moscow. The fingerings are by Marc-André Hamelin, who is both one of the exceptional pianists of our day and also an expert in Russian late-Romantic piano music.
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Johannes Brahms presumably wrote the Fantasies Op. 116 at the same time as the Intermezzi Op. 117 in the summer of 1892 in Bad Ischl. His sojourn in the Salzkammergut obviously inspired Brahms to write music for solo piano, as a year later he worked on other cycles when he was there. Amongst these late melancholy piano pieces, Op. 116 is in particular characterized by opposites. Four “dreamy” - according to Clara Schumann – intermezzi are juxtaposed with three “deeply passionate” capricci. Seven pieces in true Brahms' style, which are also accessible to non-virtuosos due to their medium level of difficulty. Henle's revision contains the musical text of the new Brahms Complete Edition.
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“The farewell / Vienna, May 4, 1809 / on the departure of his Imperial Highness the revered Archduke Rudolph” – Beethoven added this inscription to the manuscript of this sonata. It is today know by its French title les Adieux and numbers amongst the composer's best-loved piano works. The first movement of the sonata was presumably written directly before the archduke hurriedly left Vienna. Rudolph and other members of the imperial family fled to Hungary to avoid having to endure the French troops' siege and conquest. On his return in January 1810, Beethoven was able to present him with the complete sonata, having written not only the “farewell,” but also “absence” and “return.”
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Concert pianist Robert Taub, author of Playing the Beethoven Sonatas, brings forth a major, newly researched edition, with insightful commentary about teaching and playing each sonata.
Dr. Taub has performed all over the world, presenting an acclaimed series of the complete Beethoven Sonatas in both New York and London. He played and discussed Beethoven Sonatas on the PBS television program Big Ideas. His noteworthy recordings, praised by critics for their freshness and emotional involvement, are available separately.
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22 pieces by Berens, Beyer, Burgmüller, Duvernoy, Ellmenreich, Gurlitt, Heller, Kullak, Kunz, Oesten, Reinecke, Schumann, Streabbog and Tchaikovsky.
Online audio is accessed at halleonard.com/mylibrary
Contents: BERENS: Piece in C Major, Op. 70, No. 32 • BEYER: Piece in F Major, Op. 101, No. 78 • BURGMULLER: Sincerity, Op. 100, No. 1 • Ballade, Op. 100, No. 15 • DUVERNOY: Study in A Major, Op. 176, No. 15 • ELLMENREICH: Spinning Song, Op. 14, No. 4 • GURLITT: March, Op. 101, No. 1 • Grandfather's Birthday, Op. 101, No. 13 • HELLER: Scampering, Op. 47, No. 1 • Berceuse, Op. 47, No. 19 • KULLAK: The Clock, Op. 62, No. 2 • KUNZ: Canon in F Major, Op. 14, No. 95 • OESTEN: Spanish Dance, Op. 61, No. 10 • REINECKE: Sonatina in G Major, Op. 136, No. 2 • SCHUMANN: Sicilienne, Op. 68, No. 11 • Little Study, Op. 68, No. 14 • First Loss, Op. 68, No. 16 • STREABBOG: By the Seaside, Op. 63, No. 7 • TCHAIKOVSKY: The Doll's Funeral, Op. 39, No. 8 • At Church, Op. 39, No. 23
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The classics first piano book for children. Delightfully illustrated. Tunes to play include: Yankee Doodle • Twinkle, Twinkle Little Star • Polly Put the Kettle On • and more.
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Impresions Intimas para piano sola.
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Contents: Menuet • Menuet de Sigr. Bach • Bourlesq, alte Volksweise • Polonaise • Hasse: Menuet • Polonaise • Zwei Menuets • Waldhorn-Stück • Entrée • Bourrée • Schwaben-Tanz • Musette • Angloise • Passepied • Aria • Gavotte • March di Sigr. Bach • Fantasia del Sigr. Telemann • Jägerlied (Dreisser, Dantz Büchlein) • March.
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This clean, new engraving of this beloved piano piece is an affordable paperback edition, excerpted from the Complete Works of Debussy series. This music may be familiar to some as the theme from the PBS show Jack Horkheimer: Star Gazer.
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Eighteen piano sonatas survive from Mozart's pen, composed during his mature years between 1775 and 1789. They are usually grouped according to their first editions: (1) six sonatas K279-284; (2) three sonatas K309-311; (3) three sontatas K330-332; (4) sonata K333; (5) The Fantasy and Sonata K475/457; (6) the late sonatas K533/494, 545, 570, 576. This Urtext edition, bound in elegant, premium light-blue cloth, brings together all eighteen of Mozart's piano sonatas in a single volume of over 300 pages. Ernst Herttrich, the scholarly editor of Mozart's piano sonatas, has once more thoroughly compared the Urtext with all sources; Hans-Martin Theopold is responsible for the pedagogically valuable fingerings.
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Scriabin's ten complete piano sonatas offer a fascinating insight into the Russian composers stylistic development. While his first works still fully reflect the late-romantic tradition, the late works keep bursting the bounds of tonality. The boldly outlined, two-movement Fourth Sonata marks a turning point, for it evokes the world of the “Poème de lextase” with its mystical atmosphere hovering between ethereal rapture and ecstatic flight. The publication of opus 30 means that all of Scriabin's sonatas are now available in Henle Urtext quality and edited by the expert Valentina Rubcova of Moscow - an invitation to all pianists to plunge into this unique cosmos.
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Amongst the pieces in Rachmaninoff's 24 Préludes there are three that are particularly popular. These are now all available as single editions: Having already published two “warhorses”, the Préludes in C- sharp minor (51481211) and G minor (51481212), Henle now publishes the Prélude in G-sharp minor, striking a quieter and more melancholy note. For their new editions of the Préludes, Henle was able to consult the autograph sources in the Glinka Archive in Moscow, enabling them to present these single editions in superb quality. The fingerings are by Marc-André Hamelin, one of the most outstanding pianists of our time and also an expert on late romantic Russian piano music.
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A selection of original piano music by the master composers of the past four centuries, the New Classics to Moderns series provides the pianist with a repertoire which is enjoyable for the player and listener alike. Inspired by the popular series by Denes Agay, each of the six books in the New Classics to Moderns collection contains pieces by a wide range of composers, from the old masters to contemporary writers with works from recent decades. Students, teachers, indeed all pianists, will find the pieces in this series a priceless source of study material, recital pieces, sight reading exercises – or just relaxing musical entertainment. This volume includes works by Bach, Hook, Schumann, Reinecke and Leighton, amongst others.
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To see other NFMC selections, click here.
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“One closes one's eyes and is bedazzled by the sheer wealth of invention in this music!” The person who spoke so enthusiastically about Albéniz, one of the founders of the Spanish national style, was none other than Claude Debussy. The Suite espagnole for piano is surely his most popular work. It reflects the manifold rhythms and melodies of different Spanish regions – and in the last piece even Cuba is represented.The much-loved composition Asturias was also included in the collection. This work now joins Iberia and the Chants d'espagne in our much renowned series of Albéniz' piano works.
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Includes a facsimile image of Scarlatti's original preface translated into German, English, and French. Suitable for both students and professionals.
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This sheet music features an upper intermediate piano solo arrangement of the beloved Debussy work.
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Contents: Story of Our Town • Conversation at the Soda Fountain • The Resting-Place on the Hill.
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With the publication of the second volume, all of the “Slavonic Dances” are now available in Urtext. Following the resounding success of the first series op. 46, which immediately made the composer famous around the world, the publisher urged him to write more. Dvorak only got down to work on them eight years later, announcing, “I think, these will be very different.” And indeed, the difference cannot be missed: the second series is singled out by greater formal freedom and more colourful harmony. Whereas Opus 46 is for the most part characterised by sparkling high spirits (HN 757), in Opus 72 there are also quieter notes: melancholy and poetry find their way into the exuberant dance.
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“Chopin was probably the first to apply the word 'ballade' to music,” Robert Schumann once wrote. He and his contemporaries were only familiar with the term “ballad” as a literary generic concept. Poems by Chopin's compatriot Adam Mickiewicz are said to have inspired the composer's ballades, although there is no concrete evidence to support this. However, the dramatic narrative gesture of the literary ballad can clearly be seen in this new genre, as in Ballade no. 3 op. 47 which is now available as a single edition following a revision of the complete volume (HN 862).
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All piano students are familiar with Bach's two-part Inventions – but virtuosos of the keyboard also keep coming back to these timelessly beautiful but by no means easy works. It is hard to believe what Bach was able to express using only two parts! In his famous preface the composer himself calls the work an “Instruction” which teaches students and keyboard lovers to “treat correctly” several parts, to “achieve a singing style in playing” and to “acquire a strong foretaste of composition.” Henle now presents a new edition of this classic collection, which draws upon all known sources.
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