Edward Elgars „Konzert für Violoncello und Orchester“ ist sein letztes großes Werk. Es ist eine klar strukturierte und hochemotionale Komposition, die in der Violoncelloliteratur von zentraler Bedeutung ist.
Die Studienpartitur basiert auf der Urtext-Ausgabe von Jonathan Del Mar, die 2005 publiziert worden ist. Sie enthält ein neues Vorwort des Herausgebers, das umfassend Auskunft über das berühmte Werk gibt. Diese Studienpartitur ist eine Referenzausgabe für jeden Cellisten und Konzertgänger.
- Studienpartitur zur ersten kritischen Edition
- Berücksichtigt sämtliche Quellen
- Mit neuem erweitertem Vorwort (engl./dt.)
“So sieht eine äußerst gewissenhafte Edition aus.”
(FonoForum 1/08) / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

•
Zur Edition

•
Composer / Author: Bach, Johann Sebastian
6 Faksimiles

•
Composer / Author: Bach, Johann Sebastian
Passio secundum Johannem, Teil I und II

•
Composer / Author: Bach, Johann Sebastian
Nebeneinander werden die abweichenden Satzzählungen im Band der Neuen Bach-Ausgabe und im Bach-Werkeverzeiuchnis (BWV) geboten

•
Composer / Author: Bach, Johann Sebastian
Anhang 1: Satz 1-10 (NBA) ältere Fassungen

•
Composer / Author: Bach, Johann Sebastian
Anhang 2: Die zur Fassung II gehörenden Sätze (5)

•
Composer / Author: Bach, Johann Sebastian
Anhang 3: Die Textänderungen in den Sätzen 19,20 und 39 (NBA)

•
Composer / Author: Bach, Johann Sebastian
Beilage: Faksimile Wiedergabe der ersten 21 Seiten der teilautographen Originalpartitur / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

Roméo et Juliette Op.17 Hol.73: Symphonie dramatique
For his third symphony “Roméo et Juliette” (1839) Berlioz turned to his greatest literary passion, Shakespeare, drawing once again on his ownmost fervent experiences.
Berlioz’s discovery of Shakespeare in 1827 had been overwhelming not only for the dramatic force of the poetry and drama, but also because the leading actress of the company, Harriet Smithson,immediately won his heart. She later became his wife.
He began to think seriously about composing some kind of musical “Romeo and Juliet” but it was not realised until 1839. The symphony is scored fordoublechorus (to represent the two warring families), solo voices as secondary characters, with the lovers themselves represented by the orchestra.
Urtext of the New Berlioz Edition / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

Couverture Rigide. Par MARTINU BOHUSLAV. Replaces H 277 The two concertos contained in this volume represent two different stylistic periods within Martinu's work. The 'Concerto da Camera” (1941) is the last of his works inspired by the Baroque concerto grosso. The 'Rhapsody-Concerto”, composed eleven years later (1952), was the first work of his so-called 'fantasia period”, marked by a more open sense of form and an expansion of tonality. The edition of the 'Concerto da Camera' shows, for the first time, the extend of Martinu's modifications to the work since its composition and publication, particularly on the solo violin part. The edition of the 'Rhapsody-Concerto” takes into account, among others, the discovery of previously unknown contemporary performance materials. This volume of the Bohuslav Martinu-Complete Edition (BMCE) is based on a wealth of text and music sources, in particular autographs and contemporary copies that were recognized by the composer and early performers of the works, as well as some first editions created in collaboration with Martinu./ Répertoire / Conducteur

Couverture Rigide. Par GADE NIELS WILHELM. The four works presented in this volume – 'Frühlings-Phantasie” op. 23, 'Frühlings-Botschaft” op. 35, 'Die heilige Nacht' op. 40 and „ Beim Sonnenuntergang' op. 46 – were composed between 1852 and 1870. All of these works belong to the 'concert piece” genre, as the title pages of the respective first editions suggest. The works' instrumentation is varied: While „ Frühlings-Botschaft ' and „ Beim Sonnenuntergang' are composed for mixed choir and orchestra, 'Die heilige Nacht” calls for an additional solo alto. 'Frühlings-Phantasie” is not scored for choir at all, juxtaposing the orchestra with four solo voices and piano. Gade based his texts on poems by Edmund Lobedanz (op. 23), Emanuel Geibel (op. 35), August von Platen (op. 40), and Andreas Munch (op. 46)./ Répertoire / Conducteur

Couverture Rigide. Par HAENDEL GEORG FRIEDRICH. Handel's 'Il pastor fido”, HWV 8a, is the most modest of his Italian operas: With over half of its numbers drawing from musical material of earlier Italian cantatas, the work deliberately reflects the pastoral style of the Italian serenata. In order to capture the simplicity of this approach to form, Handel made use of several different techniques, such as a consistent use of high vocal registers, an abundance of monothematic da capo arias, and an overall prevalence of held-back arias. 'Il pastor fido” did not lend itself particularly well for an opera adaptation: Reducing the original text to the scale of an opera libretto posed an immense challenge. With drastic cuts, Handel's librettist Rossi condensed five acts with eighteen characters into three acts with only six roles. The libretto – a paltry sketch of the complex original drama – was not well received. But Rossi had actually done his best to add a sense of coherence to the story while preserving at least some of Guarini's poetic language. This 'Halle Handel Edition' volume compares several sources that were not available for earlier editions. Amongst other things it presents the first modern edition of the complete overture, the complete stage instructions from the libretto, and an alternative ending for the duet of Mirtillo and Amarilli in the third act./ Répertoire / Conducteur