Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Haydn probably composed his Symphony no. 88 in G major in 1787 just one year after the six so-called Paris symphonies. It was written together with its sister work the F-major Symphony no. 89 for the violinist Johann Tost who sold it to the Parisian publisher Sieber. In both works Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration richness of musical ideas and details and an idiosyncratic multicoloured use of the wind section (which still makes do without Clarinets). The G-major symphony is characterised by its cheerful almost cheeky inflection the theme of the rondo finale in particularpossesses the strong qualities of an earworm. This study edition reproduces the musical text of the Haydn Complete Edition which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans both present and future.

Piano Sonata in G major op. 37 no. 2-Clementi not only dedicated himself to the piano as a virtuoso and composer but also as a teacher music publisher and instrument maker – so it is no wonder that he was referred to as the “Father of the PianoForte” at the time. Alongside basic educational works he also wrote a great many instructive sonatas and sonatinas that form the basis of piano tuition even today. The Sonata in G major – from his opus 37 that waspublished in 1798 – is a must for all budding pianists. This is reason enough for us to publish this work of medium level of difficulty in a reasonably priced single edition. It was previously only available in a collectededition (HN 330).

In autumn 1895 after returning from New York once and for all Dvo ák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks hecomposed a new string quartet in G major. Together with the Quartet in A-flat major op. 105 it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes while hismotivic working shows him to be a master at the height of his powers. Even today it seems almost as if we can feel the composer?s satisfaction with this work: ?I am working so easily and it is going so smoothly that I could notwish it better?.

Schubert only took ten days to write his String Quartet in G major one of his truly monumental chamber music works. With its almost symphonic dimensions this late quartet is reminiscent of his greatString Quintet in C major. As divulged in a letter Schubert actually wanted to 'pave the way for the large symphony' with this quartet and several other chamber music works that he composed around the same time. Writtenin 1826 the quartet was not performed in public during the composer’s lifetime; and it was only published long after his death. This Urtext edition with its accompanying study edition is therefore based on the survivingautograph.

Considéré par beaucoup comme le dernier représentant du classicisme viennois, Ludwig Van Beethoven, mort à 57 ans est un génie qui a composé quantité d'oeuvres dont Piano Sonata no. 12 in A flat major op. 26 pour Piano. Ce sont les éditions Henle qui ont éditées cette oeuvre de Ludwig Van Beethoven. Il ne vous reste plus qu'à la jouer. / Piano / Chanson En Séparée

The large and technically demanding G major Sonata was composed two years before Schubert?s death in October 1826 and is one of only three piano sonatas that appeared in print during his lifetime. The unusual title of the first edition ?Fantasie, Andante, Menuetto und Allegretto? stems from the publisher Haslinger and is probably due to the dreamy-melancholy underlying mood of the first movement which corresponded little to the traditional concepts of a sonata?s first movement. It is hardly surprising that the ?Fantasy-Sonata?, as it is often still called today, later inspired artists such as Franz Liszt and Robert Schumann with its free and romantic nature, who described it as being consummate ?in form and spirit?. For the present Urtext edition a thorough re-examination of all known sources was undertaken, including the autograph in the British Library, and the edition now presents itself with the usual crystal clear Henle music engraving. The preface by Schubert expert Andrea Lindmayr-Brandl and the detailed commentary section provide comprehensive information about the genesis of the work, the sources and their readings. A further highlight are the fingerings by pianist Martin Helmchen.

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition French Suites BWV 812-817 qui a été écrite pourPiano. Les éditions Henle qui ont éditées cette oeuvre l'ont répertoriée sour la référence 72. / Piano / Partition

Violin Sonata in G major-Inspired by Béla Bartók’s Violin sonatas Ravel planned his own sonata for Violin and Piano in 1922 but at first did not get beyond sketches. Many interruptions ensued and the work was onlyfinished in 1927. He dedicated it to his violinist friend Hélène Jourdan-Morhange. Regarding the sonata’s sparse thinned out compositional structure and instrumentation Ravel later emphasized thatthe sonata proved the tonal incompatibility of the Violin and Piano. Yet it still succeeded in winning a permanent place in Violin repertoire – not least because of its middle movement inspired by jazz elements and the“blues”. The fingerings in this Henle Urtext edition have been provided by two masters of their instruments: Christian Tetzlaff and Pascal Rogé.

Of Grieg?s three Violin sonatas the great C-minor Sonata op. 45 is the best known today. And unjustly so because the two early sonatas are captivating in their joy to play and their fresh youthful tone. And what is more they can also be played by advanced students due to their somewhat lesser technical demands. Written in 1867 the G-major Violin Sonata op. 13 palpably draws on Grieg?s enthusiasm for Norwegian folk music; the lively outer movements in particular take as their model the traditional ?jumping dance.? Aside from the second print edition of 1887 revised by Grieg himself the autograph manuscript in Stockholm wasalso consulted for this edition thus offering an optimally ascertained musical text.