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Hummel’s Trumpet Concerto is still one of the most popular concertos for this instrument. He composed it in 1803 for the Viennese court trumpeter Anton Waidinger, whose newly developed key-trumpet enabled him to play in a much more virtuoso manner than on the traditional natural trumpet. Our Urtext edition reproduces the work in the original key of E major with solo parts in E and for the more common trumpet in C. Due to the fact that the concerto is nowadays often performed in E flat major, our edition also contains a piano reduction in E flat major for trumpets in E flat and B flat. The different transpositions are now available in one single edition for the first time. Breitkopf & Härtel are publishing the performance material at the same time.
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EAN: 9790201808406
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Hummels “Potpourri” for Viola and Orchestra op. 94 is part of every viola player’s core repertoire, especially in its shortened version, the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited, newly composed passages, the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Tabea Zimmermann has drawn upon her extensive experience in providing fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Read more about this edition in the Henle Blog.
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EAN: 9790201808383
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Hummels “Potpourri” for Violoncello and Orchestra op. 95 is part of every violoncello player’s core repertoire, especially in its shortened version, the “Fantasy”. Sprinkled with quotes from operas by Mozart and Rossini and framed by spirited, newly composed passages, the “Potpourri” fills a gap in the small repertoire of the classical-early romantic period. Sebastian Hess has provided fingerings and bowings for the solo part. And it goes without saying that the “Fantasy” version can also be played using our edition. Hummel produced this version in addition to the original edition for viola. The version presented here was out of print for many years, but we have now made it available again.
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EAN: 9790201808390
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Johann Nepomuk Hummel (1778–1837) is wrongly remembered, first and foremost, as Mozart’s pupil. In his day he was one of the most respected pianists and was also a composer with quite some influence on later generations. It is not known when exactly he composed his viola sonata. It was selfpublished in 1798 in Vienna together with two violin sonatas. Numerous reprints, including ones in France and England, testify to the extraordinary popularity of the sonata, both then and today.
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EAN: 9790201810294
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Bach’s Trio Sonata BWV 1038 for Flute, Violin und Continuo proposes a conundrum. It has survived as a set of parts in Johann Sebastian Bach’s hand – yet the source does not give a composer. Thus its authenticity has been called into question time and again. According to the latest research, however, this tone sensitive sonata is presumed to be an original work by Bach. Our editor Peter Wollny, a declared expert, outlines the reasons for this in detail. The violin part is to be played in scordatura according to the source, so we have provided a part in original notation as well as in standard notation for regularly tuned violins.
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EAN: 9790201805542
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The enormously beloved and often performed Trio Sonata BWV 1039, which Bach also arranged for gamba and harpsichord, is, next to the Trio Sonata from the Musical Offering, the only trio sonata by J. S. Bach whose authenticity is completely unchallenged. To allow an alternative performance using two violins the editor has provided authorized variants in small print.
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EAN: 9790201803296
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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 to another composer, we shall continue to respect the traditional attribution to “Father” Bach.
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EAN: 9790201804583
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Bach’s death meant that the Art of Fugue was left unfinished. In his father’s manuscriptCarl Philipp Emanuel noted exactly where the last fugue of the Art of Fugue broke off: “While working on this fugue, in which the name BACH appears in the countersubject, the author died.” Our editor Davitt Moroney brings the fugue to a close with 30 supplementary measures.There has been frequent speculation about what type of scoring would be most appropriate for the piece, particularly since Bach wrote the individual parts in score form and left no information about instrumentation. Certainly, strict fugues can be found in any ensemble scoring; this had been normal for centuries. It is remarkable, though, how the cycle can easily be played on the harpsichord or piano – a strong argument for keyboard performance.
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EAN: 9790201894232
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Along with his major cycles such as the English and French suites, the Goldberg Variations or the Well-Tempered Clavier, Bach also left a wealth of single pieces with a great diversity of titles; they stem in large part from his early youth and student period around the years 1700-1710. The title of the present work – translated as “Capriccio on the departure of his most beloved brother” – reveals that this is programmatic, onomatopoeic music of the kind that was very popular in the 17th and 18th centuries. In its six short and imaginatively-titled movements Bach shows a different side of himself from the usual polyphonist. Perhaps we owe this piece to the departure of his brother Johann Jacob Bach, who entered service in Sweden in 1704.
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EAN: 9790201813059
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During the years 1713/14, when he held the position of court organist in Weimar, Bach arranged a large number of concertos by contemporary composers for keyboard or organ solo. More than 20 years later, in 1735, he published his Concerto in the Italian Style: a truly original work that can confidently be described as his “summa summarum;” the climax of this genre. The autograph is no longer extant, which means that for Henle’s Urtext edition, the first print – corrected by Bach – served as the main source. The forte and piano markings found in the work signalize the alternation between imaginary tutti and solo sections.
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EAN: 9790201801605
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The Clavierübung published in four sections belongs to the few works of Bach that he allowed to be printed during his lifetime. Part I, which appeared in print in 1731, contains the six Partitas; Parts II–IV were issued in 1735, 1739 and 1741/2. These are the parts that form the basis for the compilation that we find in this volume. The Italian Concerto and the French Overture constitute Part II and, in a way, serve as a kind of echo of French and Italian orchestral music of the time, here transposed to the keyboard. The Four Duets are contained in Part III of the Clavierübung, next to important works for the organ; however, since they are conceived for two parts, they are ideal for piano or harpsichord.Finally, the Goldberg Variations form Part IV of the Clavierübungen. According to Bach’s first biographer, Johann Nikolaus Forkel, a Count von Keyserlingk had requested a work from Bach. It was intended for the nobleman’s harpsichordist Johann Gottlieb Goldberg so that he could play pieces of “a gentle and light character” during the Count’s sleepless nights. The result was art-works of the very highest order.
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EAN: 9790201891293
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Online-tutorial available at Henle Masterclass This edition with over 50 pages contains the universally known selection of easy preludes and little fugues that has proved extremely successful in teaching the piano. Bach’s sons, with Wilhelm Friedemann and Carl Philip Emanuel leading the way, were already able to learn them. If you make your way through these pieces (which gradually become more challenging), you can make great progress on the piano, and what is more these 300-year-old compositions are still able to work their musical magic. Those who are technically more advanced should still occasionally sight read through them; you will then immediately see that they are real gems. Incidentally, all of Bach’s piano works are available from Henle both with and without fingerings.
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EAN: 9790201811062
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Although people might like to think that the “English Suites” were composed after the “French Suites” (HN 71), “the temperamental and in part virtuoso flow of these Suites is more characteristic of the musical language of the young Bach” (from our preface). The kaleidoscopic variety of the six “English” Suites is breathtaking. One lifetime is not enough to exhaustively comprehend and penetrate them. We provide the sustainable musical basis for this, in different formats: the complete paperbound volume (HN 100), clothbound (HN 101), divided into Nos. 1–3 (HN 102) and Nos. 4–6 (HN 103) and last but not least in a very good value study edition with the identical musical text (HN 9100).
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EAN: 9790201801018
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Bach had included these four pieces in Part III of the Clavierübung (1739), as this print chiefly contained works for organ (21 chorale preludes on Catechism melodies and other hymns); moreover, a spiritual-religious dimension has often been sought for the “Four Duets”. Indeed, they already evoke the raising of Bach’s late works, such as “Das Musikalische Opfer” and “The Art of Fugue”; to a spiritual level.
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EAN: 9790201801612
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Bach most likely composed his Toccatas in his early creative years, between 1707 and 1713; they can be seen as the products of Bach‘s own “Sturm und Drang” period, and were not planned as an interconnected work cycle, but as autonomous works written at different times. As was customary for this genre, the toccatas emphasize virtuoso and improvisatory elements, and, occasionally, the recitative aspect as well. What is indispensable is Bach’s mastery of the polyphonic technique, the rich harmonies, and the inexhaustible wealth of his inventiveness.
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EAN: 9790201811260
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The basis for the musical text of this edition without fingerings was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s revision of Part II (spring 2007). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions with fingerings (HN 16) and as study editions without fingerings (HN 9016).
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EAN: 9790201810164
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The world-famous pianist András Schiff, a most familiar name to Bach fans on account of his complete recordings of Bach’s piano works, has provided fingerings for both parts of the Well-Tempered Clavier. He discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle’s revised edition of Part I published in 1997 and Yo Tomita’s revision of Part II (spring 2007). The eminent Bach scholar Tomita discusses the complicated source situation of Part II in an extensive preface. A detailed commentary rounds off the edition. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions without fingerings and as study editions.
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EAN: 9790201800172
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It is now possible to add the epithet“previously“ to the formulation of these sonatas as “attributed to Bach” in the title of our Urtext edition; today it is assumed that none of the three sonatas was written by “Father” Bach, but rather by his son Carl Philipp Emanuel. Yet this, too, cannot be completely and unambiguously authenticated; doubts linger. In any case, the issue does not detract from the extraordinary popularity of, for example, the Sonatas in E flat major and g minor, which have stunningly beautiful slow movements. The sonatas are part of the flautist’s daily bread.
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EAN: 9790201803289
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Along with his major cycles such as the English and French suites, the Goldberg Variations or the Well-Tempered Clavier, Bach also left a wealth of single pieces with a great diversity of titles; they stem in large part from his early youth and student period around the years 1700-1710. The title of the present work – translated as “Capriccio on the departure of his most beloved brother” – reveals that this is programmatic, onomatopoeic music of the kind that was very popular in the 17th and 18th centuries. In its six short and imaginatively-titled movements Bach shows a different side of himself from the usual polyphonist. Perhaps we owe this piece to the departure of his brother Johann Jacob Bach, who entered service in Sweden in 1704.
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EAN: 9790201813752
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Online-tutorial available at Henle Masterclass 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”. We are now presenting a new edition of this classic collection, which draws upon all known sources.
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EAN: 9790201815916