Par GRIEG EDVARD. Grieg Holberg Suite (From Holberg\'s Time) Op.40 (Full Score) Suite in the Olden Style for String Orchestra To celebrate the 200th birthday of the playwright Ludvig Holberg (1684-1754), a statue was erected in his honour in 1884. Edvard Grieg, who, like Holberg, was born in Bergen, was commissioned to write an open-air cantata for the ceremony. But he also refers to Holberg in his instrumental music. The result was a ?powdered wig piece? (as Grieg wrote to his publisher) that hearkens back to Holberg?s era ? a historicising suite of baroque dances for piano, ranging from an exhilarating prelude and several dance numbers to a Bachian ?air? and an impetuous ?rigaudon?. Later Grieg arranged his ?Suite in the Olden Style? for string orchestra. This version became one of his most popular compositions. For our new scholarly-critical edition Christoph Rinne-Schroeder has meticulously examined the original print and compared it with previously neglected performance material annotated by Grieg himself. - New Urtext edition of this popular work for string orchestra - Based on previously neglected sources by Grieg himself - String parts in a practical large format (25.5 cm x 32.5 cm) / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

Dvo ák?s Serenade In E Major for String Orchestra is one of his most popular and frequently played works. It was written in the spring of 1875 when he had just experienced his first successes at the conductor?s podium and had received a state arts scholarship. The score and parts were published by Bote & Bock Berlin in 1879.This Urtext edition is based on the composer?s autograph score. It corrects mistakes found in the first edition and so for the first time the editor incorporates omitted passages from the autograph marking them with Vi-de. This reconstruction makes it possible to clarify the piece?s structure. The author of theForeword Kate ina Nová is head of the Dvo ák Museum in Prague.Detailed Foreword by Kate ina Nová (Cz/Eng/Ger) and Critical Commentary by the editor (Eng)Including Vi-de passages from the autograph scoreFull score & parts (BA10423) available for sale

One of the best-loved and most endearing works of the late Baroque Vivaldi's set of Violin Concertos The Four Seasons Op.8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source which originates from Vivaldi’s circle and represents an alternative (in many cases more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725.The Manchester source has until now not been used as the primary basis for a modern performing edition andoffers new readings and evidence for players and listeners alike.With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons.

One of the best-loved and most endearing works of the late Baroque Vivaldi's set of Violin Concertos The Four Seasons Op.8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source which originates from Vivaldi’s circle and represents an alternative (in many cases more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725.The Manchester source has until now not been used as the primary basis for a modern performing edition andoffers new readings and evidence for players and listeners alike.With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons.

Fantasia In F Minor for Strings (1799) after the Organ Piece for Mechanical Organ K.608.Despite their high quality Mozart?s works for unusual instruments or instrumental combinations often receive scant attention. One of these remarkable compositions is a piece for mechanical Organ K. 608 that he wrote for ? Müller?s Art Gallery ? in March 1791. By 1799 it had already appeared in print in Vienna as a fantasy for Piano four-hands.But there were also other transcriptions including one for two Flutes and another for String Quartet.Several sources and later editions attest to the popularity of this contemporary stringarrangement of 1799. Our new volume edited by Christopher Hogwood takes the relevant sources into account.It contains a trilingual preface (Eng./Ger./Cz.) discussing the work?s history and performance practice as well as a detailed critical report.- Almost unknown music from Mozart?s final year.- Transcription of 1799 for String Quartet.- Additional Double Bass part provided to allow performances with Chamber Orchestra.- Detailed preface critical report (Eng./ Cz ./Ger.). Also includes facsimiles.- Full score & parts (BA9505) available for sale.

Georg Philipp Telemann (1681 - 1767).Little Suite In D for 5-part String Orchestra.Score and parts available for sale.

Georg Philipp Telemann (1681 - 1767).Little Suite In D for 5-part String Orchestra.Score and parts available for sale.

Georg Philipp Telemann (1681 - 1767).Little Suite In D for 5-part String Orchestra.Score and parts available for sale.

In completion of the first part (Hortus Musicus 50 now out of print) this second part to the 'Music To The Midsummer Night's Dream' contains all the remaining four-part instrumental pieces from Henry Purcell's opera 'The Fairy Queen' (1692). Similar to the pieces in the first part the composer wrote them for performance by Strings but they can also be played by Wind Instruments only (in particular wood-wind) or with string and wind instruments mixed and also with one or several instruments to a part. The pieces were put in such an order that they again present a small self-contained suite.The titles to the several numbers which arepartly mentioned more exactly in this book indicate their place in the above named opera by Purcell. They elucidate at the same time the character of the various pieces. Thus No.1 Air (Second Music) is originally a (second) introductory piece of music for the opera which still precedes the actual Overture. No.2 Jig No.5 Air and No.8 Air are instrumental postludes to the first fourth and second acts of the opera respectively whereas No.4 'Dance for the Followers of Night' No.6 'Dance for the Green Men' and No.7 'Monkeys' Dance' present a motley picture of the operatic construction which provided a great number of allegoric persons and figures. From a purely musical point of view this second part too of the 'Music To The Midsummer Night's Dream' contains gems of old instrumental music. May this present book help to gain new friends for the noble art of the great Old-English composer.

String Quintets (6) (K.174 406 515 516 593 614) (Urtext).2 vn 2 va vcStudy score

B-Dur für drei Violinen und b. c.-Gottfried Finger (c 1656 - 1730).Many sonatas trio sonatas and chamber compositions for Wind and String Instruments are part of the compositional legacy of Gottfried Finger. Nowadays works for Wind Instruments especially for Alto Recorder are being published occasionally while works for Violin and Viola Da Gamba have escaped the attention of the researchers. One of the most remarkable composition from among them is the Sonata In B Flat Major for three Violins and Continuo whose period copy present in the library of Uppsala University served as a source for this edition. The piece is interesting especially for its unusalstructure as it is composed as a dialogue between the three concert Violins that are in contrast to the broadly set tutti. In solo parts the composer provides equal space for self-presentation for all three Violins. The edition was prepared by Miloslav Klement.

aus 'LEstro armonico' op. 3-L'Estro Armonico Op.3 or 'Harmonic Invention' is a collection of 12 concertos published in 1712 and dedicated to Ferdinand III. The music quickly became well-known throughout Europe and helped establish Vivaldi's reputation.

aus 'LEstro armonico' op. 3-L'Estro Armonico Op.3 or 'Harmonic Invention' is a collection of 12 concertos published in 1712 and dedicated to Ferdinand III. The music quickly became well-known throughout Europe and helped establish Vivaldi's reputation.