

Frédéric Chopin
Berceuse D flat major op. 57
Frédéric Chopin spent his fifth summer at George Sand’s country estate in Nohant in 1844. The time away from Paris gave the composer the necessary creative free space to produce the delicate Berceuse (lullaby) as well as the b minor sonata that year. The former is known for its dreamy, exquisite ambient sound – and yet it still numbers amongst Chopin’s most fabricated works. It was originally intended to have the somewhat sober title “Variantes”: a sketch shows how Chopin conceived these “Variantes”. The genesis and source situation are explored in our revised edition that reflects the latest scholarly findings. A classic with a new look in the Henle catalogue!
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About the Composer

Frédéric Chopin
Pianist and composer. His work is concentrated around piano music that enjoys extraordinary popularity and has become an integral part of the concert repertoire. His music influenced subsequent generations in France (Franck, Saint-Saëns, Fauré, Debussy) as well as Smetana, Dvořák, Balakirev, Grieg, Albéniz.
About the Authors

Norbert Müllemann (Editor)
Dr. Norbert Müllemann, born in 1976 in Cologne, studied musicology, German philology and philosophy at the University of Cologne whilst at the same time studying the piano at the Music Conservatory in Cologne.
In 2004 he began working at G. Henle Publishers as an intern. In 2005 he became a junior editor, whilst at the same time starting his doctorate at the Ludwig-Maximilians-Universität in Munich. He completed it in 2008 with a thesis entitled “Handschriften Frédéric Chopins bis 1830. Studien zur Authentizität, Datierung und Werkgenese”. Since 2008 Müllemann has been an editor at the publishing house, becoming editor-in-chief in 2017 and Head of Publishing in 2024. He has edited numerous Urtext editions for the publisher with a particular focus on the works of Frédéric Chopin.

Hans-Martin Theopold (Fingering)
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The stemma of the work (described in the commentary) shows the complex array of sources consulted by Norbert Müllemann, who has taken the second issue of the French first edition as the primary source. Variants between it and other important sources such as pupil's copies are noted in the footnotes, while pedalling and fingering indications from the sources are included (editorial fingering is also added). The same editorial team bring their impressive scholarship to bear on the F sharp minor Polonaise - one of only three polonaises to be published separately from Henle's volume of polonaises (HN 217).
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Further editions of this title
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