Newly discovered by Wiener Urtext

Did you know:

... that the two famous minuets from the Clavierbüchlein ('Little Keyboard Book') of Anna Magdalena Bach come from the Suite de Clavecin by Christian Petzold?

... that Mendelssohn´s 'Autumn Song' was originally a Song without Words?

... that numerous Piano Exercises by Brahms slumbered undiscovered in archives?

You can discover all this in the new editions of the Wiener Urtext Edition. And much more:
the volumes contain all the rediscovered pieces, waiting for you.

Christian Petzold´s Suite de Clavecin is a nine-movement keyboard suite which includes many of the characteristic dance types of the Baroque. Easier to play than the suites of Bach and Handel, the work is an excellent introduction to the stylistic world of the Baroque keyboard suite. Both professional and amateur musicians will be enchanted by the beauty of these miniatures. Our new edition of the Clavierbüchlein of Anna Magdalena Bach (UT 50150) includes the complete work in the appendix, and is thus - completely in the spirit of the original - a volume rich in music to play and sing, for home music-making.

The piano piece in F sharp minor entitled 'Lied' which Felix Mendelssohn Bartholdy reworked in 1845 into the duet 'Autumn Song' is not the only Song without Words which, surviving as a single composition, was almost completely forgotten. It applies also to the very first work in this genre, with which Mendelssohn surprised his sister Fanny in 1828 on her birthday. It has even been possible to rediscover the original edition, long thought to have been lost, of the 'Venetian Gondola Song' in A major, Mendelssohn´s fourth composition with this title. This and other little-known Songs without Words were brought together in the appendix of our New Edition (UT 50075). They complete the picture of this genre, so typical of Mendelssohn, and enrich the piano repertoire with delightful character pieces, both for teaching and for the concert platform.

In 1893, Brahms had his '51 Exercises for Pianoforte' published. These have since been considered to be the key to developing a supple piano technique, and are among the "daily bread" of many pianists. That the '51 Exercises' do not, however, represent the complete repertoire of Brahms´s technical studies for piano is demonstrated by numerous surviving manuscript copies, which have been evaluated for the first time for our edition. These additional Exercises come in part directly from Brahms´s piano teaching. Hardly any of these pieces, numbering 30 in all, have previously been published, and especially not in a form suitable for practising. The Wiener Urtext Edition is printing them in full in the appendix of its new edition of the '51 Exercises for Pianoforte' (UT 50231), and is thereby extending the collection with a resource which includes study literature for the most varied grades of difficulty.