{"title":"Henle社の新刊（2026年10月）","description":null,"products":[{"product_id":"mds9790201817279","title":"エンターテイナー = The Entertainer","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eAbsolutely everyone knows this ragtime! As part of the film score for the crime caper “The Sting”, “The Entertainer” became world-famous and set off a veritable Joplin renaissance in the 1970s. American pianist, conductor and musicologist Joshua Rifkin also played a significant role in this with his album “Piano Rags”. It is therefore hard to imagine a more suitable editor than Rifkin for the first critical Urtext edition of Scott Joplin’s piano music, which as a significant contribution to American music history finds its rightful placein the Henle catalogue. This practical and affordable individual edition of “The Entertainer” – an effective ragtime of medium difficulty – offers a small foretaste of the volume containing all of Joplin’s piano works.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452450022,"sku":"mds9790201817279","price":1544.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364391-0.webp?v=1791294432"},{"product_id":"mds9790201816845","title":"11のバガテル op. 119 = Elf Bagatellen","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eAfter the publication of his Bagatelles op. 33 in 1803, Beethoven returned to this genre again only twenty years later. The stimulus came from outside, twice: on the one hand, he received a request in 1820 to supply pieces for a piano method; on the other hand, in 1822 the Peters publishing house asked for “solo pieces for piano,” whereupon Beethoven offered “bagatelles or trifles”. These two groups of Bagatelles (nos. 1–6 as revisions of older pieces for Peters and nos. 7–11 for the piano method) were ultimately published in London in 1823 in the order known today – whether this was done with Beethoven’s consent remains a matter of debate to this day. In any case, they enjoy great popularity among amateurs and professionals alike owing to their variety of characters and their moderate level of difficulty.\u003cbr\u003e\nWithin the scope of a revision of all of Beethoven’s Bagatelles, Henle Publishers took the opportunity to offer opus 119 for the first time as a single Urtext edition. The music and detailed texts reflect the current state of research. Editor Joanna Cobb-Biermann took advantage of a significantly expanded range of sources.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eBagatelle g minor op. 119, no. 1\u003cbr\u003e\nBagatelle C major op. 119, no. 2\u003cbr\u003e\nBagatelle D major op. 119, no. 3\u003cbr\u003e\nBagatelle A major op. 119, no. 4\u003cbr\u003e\nBagatelle c minor op. 119, no. 5\u003cbr\u003e\nBagatelle G major op. 119, no. 6\u003cbr\u003e\nBagatelle C major op. 119, no. 7\u003cbr\u003e\nBagatelle C major op. 119, no. 8\u003cbr\u003e\nBagatelle a minor op. 119, no. 9\u003cbr\u003e\nBagatelle A major op. 119, no. 10\u003cbr\u003e\nBagatelle B flat major op. 119, no. 11            \u003c\/p\u003e \n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452515558,"sku":"mds9790201816845","price":2257.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/HN-1684_800x800_a5894fc3-0116-4574-977f-1d263393beee.jpg?v=1791292670"},{"product_id":"mds9790201816852","title":"6つのバガテル op. 126 = Sech Bagatellen","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eIn contrast to the Bagatelles op. 119, the Bagatelles op. 126, composed in 1824, were planned as a cycle from the outset. What these new bagatelles have in common are a basic tripartite form and the highly developed technique of deriving variations and contrasts from small motifs. The novelty of these pieces, which at the same all but marked Beethoven’s farewell to piano music, did not remain hidden from his contemporaries. Thus, a reviewer opined in 1826: “These six more or less short pieces contain more that is truly new and entirely distinctive, partly in the melodies or harmonies themselves, partly in both the appearance and form, than many an act of an opera”. An additional attraction is their moderate level of difficulty, which makes the Bagatelles accessible also to amateurs.\u003cbr\u003e\nOpus 126 is now available for the first time from Henle in a revised single edition, edited by Beethoven specialist Joanna Cobb Biermann, who, in addition to the 1825 first edition, also consulted all the surviving autograph manuscripts. Beethoven described these, his last Bagatelles, as “probably the best of this kind that I have written” – judge for yourself!            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eBagatelle G major op. 126, no. 1\u003cbr\u003e\nBagatelle g minor op. 126, no. 2\u003cbr\u003e\nBagatelle E flat major op. 126, no. 3\u003cbr\u003e\nBagatelle b minor op. 126, no. 4\u003cbr\u003e\nBagatelle G major op. 126, no. 5\u003cbr\u003e\nBagatelle E flat major op. 126, no. 6            \u003c\/p\u003e \n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452548326,"sku":"mds9790201816852","price":3089.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364427-0.webp?v=1791292670"},{"product_id":"mds9790201817262","title":"25の練習曲 op. 100 = 25 Etüden","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eFriedrich Burgmüller’s 25 Etudes op. 100 from 1851 are an indispensable part of piano instruction. Their charm lies in the fact that they do not present themselves as mundane finger exercises, but as pieces with evocative titles such as “L’Arabesque” or “L’Hirondelle” (The Swallow). For the Henle edition, the renowned piano pedagogue Melanie Spanswick has written short commentaries to explain the character and technical particularities of the individual etudes. She has carefully supplemented the composer’s original fingerings with additional indications. This Urtext edition also presents for the first time musically expanded versions, which Burgmüller presumably wrote down only after the work had been printed. So, even with these popular exercises there is new territory to discover!            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452482790,"sku":"mds9790201817262","price":2970.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364388-0.webp?v=1791292670"},{"product_id":"mds9790201817286","title":"メイプル・リーフ・ラグ = Maple Leaf Rag","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eThis ragtime is impossible to overlook! For all that, Scott Joplin’s music was largely forgotten for a long time after his death in 1917, until 1970, when the young pianist and musicologist Joshua Rifkin set off a veritable Joplin renaissance with his recording “Piano Rags”. Thanks to the film score for the crime caper “The Sting”, Joplin’s ragtime pieces have become world-famous and are greatly loved by pianists of all ages and playing levels. It is therefore hard to imagine a more suitable editor than Rifkin for the first critical Urtext edition of Scott Joplin’s piano music, which as a significant contribution to American music history finds its rightful place in the Henle catalogue. This practical and affordable individual edition of the “Maple Leaf Rag” – an effective ragtime of medium difficulty – offers a small foretaste of the volume containing all of Joplin’s piano works.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452613862,"sku":"mds9790201817286","price":1544.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364393-0.webp?v=1791294432"},{"product_id":"mds9790201816876","title":"3つの練習曲 op. 65 = Drei Etüden","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eCompleted in 1912 and published already that same year, these Three Etudes op. 65 are assigned to Scriabin’s final creative period. Tonally, they arguably number among the composer’s most original and visionary works. Marked by the intervals of the ninth, seventh and fifth as musical building blocks, they skirt the border to atonality – and in doing so sound not only modern and virtuoso, but also exceptionally colourful and at times downright sensual. Scriabin himself, it is reported, could not even perform the first etude of op. 65. His hands were not large enough to adequately play the procession of ninths that flit swiftly across the keyboard in a ghostly pianissimo. These effective pieces thus pose many a pianistic challenge for performers. The fingerings suggested by Scriabin expert Boris Giltburg in the Henle Urtext edition offer valuable assistance.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452646630,"sku":"mds9790201816876","price":3089.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364428-0.webp?v=1791294433"},{"product_id":"mds9790201816333","title":"自作主題による変奏曲 op. 10 = Variationen über ein eigenes Thema","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eJoseph Joachim is considered one of the most important violinists of the second half of the nineteenth century. By contrast, his indeed small but at the time highly regarded compositional work is hardly known today. Unjustly so, as shown by the Variations on an Original Theme op. 10, which was admired by Brahms. The work was composed in 1854 in connection with Joachim’s unrequited love for the authoress Gisela von Arnim, to whom he erected a monument employing musical symbolism in the opening theme gis1–e1–a1 (g-sharp–e–a; a = Italian la). The theme, performed by the piano alone, is followed by ten variations that demonstrate an immense diversity of derivations – in terms of melody, harmony and, above all, rhythm – from the simple basic idea.\u003cbr\u003e\nAt the suggestion of world-renowned violist Tabea Zimmermann – who also contributed fingerings and bowings – this delightful work appears for the first time in an Urtext edition, edited by Joachim specialist Christoph Arta on the basis of all available sources.             \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452679398,"sku":"mds9790201816333","price":4990.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-2364422-0.webp?v=1791294432"},{"product_id":"mds9790201811376","title":"弦楽四重奏曲第3番 op. 19 = Streichquartett Nr. 3（パート譜セット）","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eThe string quartets by Viennese composer Alexander Zemlinsky number among the most important contributions to the genre in the first half of the twentieth century. The Third String Quartet op. 19, composed in 1924, shows the mature master at the height of his creativity. The difference to the highly expressionistic Second String Quartet, written ten years earlier, could hardly be greater. With its four-movement form, an often linear style of writing and the ironic detachment of its tone, Zemlinsky’s op. 19 takes up the then current neoclassical tendencies of the 1920s. For this Henle Urtext edition, it was possible to consult the autograph score, the engraver’s copy proofread by the composer and the first edition, so that the edition is based on an optimal source foundation. The editorial work was generously supported by the Alexander Zemlinsky Fund, Vienna.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452744934,"sku":"mds9790201811376","price":11642.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-1869579-0.webp?v=1791294436"},{"product_id":"mds9790201870021","title":"弦楽四重奏曲第3番 op. 19 = Streichquartett Nr. 3（ポケット・スコア）","description":"\u003csection id=\"content2\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-comment\" class=\"c-product-table\"\u003e\n            \u003cp class=\"c-product-table__text\"\u003eThe string quartets by Viennese composer Alexander Zemlinsky number among the most important contributions to the genre in the first half of the twentieth century. The Third String Quartet op. 19, composed in 1924, shows the mature master at the height of his creativity. The difference to the highly expressionistic Second String Quartet, written ten years earlier, could hardly be greater. With its four-movement form, an often linear style of writing and the ironic detachment of its tone, Zemlinsky’s op. 19 takes up the then current neoclassical tendencies of the 1920s. For this Henle Urtext edition, it was possible to consult the autograph score, the engraver’s copy proofread by the composer and the first edition, so that the edition is based on an optimal source foundation. The editorial work was generously supported by the Alexander Zemlinsky Fund, Vienna.            \u003c\/p\u003e\n          \u003c\/div\u003e  \n\u003c\/section\u003e\n\n\u003csection id=\"content3\" class=\"tab-content\"\u003e\n          \u003cdiv id=\"c-product-table-table-of-content\" class=\"c-product-table\"\u003e\n         \u003c\/div\u003e  \n\u003c\/section\u003e","brand":"G. Henle Verlag・ヘンレ","offers":[{"title":"Default Title","offer_id":67633452810470,"sku":"mds9790201870021","price":4752.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/1710\/0196\/files\/stretta-image-1869575-0.webp?v=1791294436"}],"url":"https:\/\/gaudeamusic.com\/collections\/henle%e7%a4%be%e3%81%ae%e6%96%b0%e5%88%8a-2026%e5%b9%b410%e6%9c%88.oembed","provider":"Gaudeamus","version":"1.0","type":"link"}