SKU: AP.6-849988
ISBN 9780486849980. UPC: 800759849987. English.
Timeless classics include the opening movement of Ludwig van Beethoven's Moonlight Sonata and Pachelbel's Canon as well as pieces by Johann Sebastian Bach, Béla Bartók, Claude Debussy, Wolfgang Amadeus Mozart, and other legendary composers. Editor David Dutkanicz has provided fingerings, notes, and performance suggestions. Includes downloadable MP3s.
SKU: AP.38405S
UPC: 038081437378. English.
200 years after the event it commemorates, let's celebrate Tchaikovsky with a very playable reduction of his great overture. Perfect for festival or contest---or just for fun, using paper bags for the canon effect!
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SKU: BR.OB-5512-16
For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977.
ISBN 9790004339015. 10 x 12.5 inches.
Urtext virgin territory: the overture Leonore No. 3 To this day, the two major Fidelio overtures are still performed from music texts that go back to the imprecise and corrupted first editions of the parts. In the meantime, however, the state of the sources for both works has significantly improved through many new findings. For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977. This score was most likely used by the conductor in 1806, and it helps clear up the previously unresolved textual problems of the work, such as, for example, the famous Presto passage in m. 514.For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977.
SKU: BR.OB-5512-27
ISBN 9790004339046. 10 x 12.5 inches.
SKU: BR.OB-5512-15
ISBN 9790004339008. 10 x 12.5 inches.
SKU: BR.OB-5512-19
ISBN 9790004339022. 10 x 12.5 inches.
SKU: NR.94540
SKU: HL.50602116
ISBN 9781540064431. UPC: 888680966492. 9.0x12.0x0.865 inches.
LUDWIG VAN BEETHOVEN Fidelio O wär' ich schon mit dir vereint • VINCENZO BELLINI I Capuleti e i Montecchi Eccomi in lieta vesta...-Oh! quante volte, oh! quante • I puritani O rendetemi la speme - Qui la voce sua soave - Vien, diletto • La sonnambula Care compagne - Come per me sereno - Sovra il sen la man mi posa • La sonnambula Ah! non credea mirarti • GAETANO DONIZETTI Don Pasquale Quel guardo il cavaliere • L'elisir d'amore Prendi, per me sei libero • La fille du régiment Chacun le sait • Lucia di Lammermoor Regnavanel silenzio - Quando rapito in estasi • Lucrezia Borgia Com'è bello! quale incanto • CHARLES GOUNOD Faust Que vois-je là ? - Ah ! Je ris de me voir • Roméo et Juliette Je veux vivre dans le rêve • GEORGE FRIDERIC HANDEL Agrippina Bel piacere • Alcina Tornami a vagheggiar • Alcina Ah, mio cor! • Giulio Cesare Non disperar chi sa? • Giulio Cesare V'adoro, pupille • Giulio Cesare E pur così inun giorno - Piangerò la sorte mia • Giulio Cesare Da tempeste il legno infranto • JULES MASSENET Manon Allons ! Il le faut ! - Adieu, notre petite table • Manon Est-ce vrai ? - Obéissons quand leur voix appelle • WOLFGANG AMADEUS MOZART Così fan tutte In uomini, in soldati • Don Giovanni Batti, batti, o bel Masetto • Le nozze di Figaro Giunse alfin il momento - Deh vieni, non tardar • Die Zauberflöte Ach, ich fühl's • GIOVANNI BATTISTA PERGOLESI La serva padrona Stizzoso, mio stizzoso • GIACOMO PUCCINI La bohème Quando me'n vo • Gianni Schicchi O mio babbino caro • La rondine Chi il bel sogno di Doretta • GIOACHINO ROSSINI Semiramide Bel raggio lusinghier • Il viaggio a Reims All'ombra amena del Giglio d'Or • GIUSEPPE VERDI Un ballo in maschera Volta la terrea fronte alle stelle • Un ballo in maschera Saper vorreste • Falstaff Sul fil d'un soffio etesio • Rigoletto Gualtier Maldè...-Caro nome • La traviata È strano!... è strano!...-Ah, forse è lui che l'anima - Sempre libera degg'io • ANTONIO VIVALDI Il Tigrane Squarciami pure il seno.
SKU: BR.OB-5512-30
ISBN 9790004339053. 10 x 12.5 inches.
SKU: BR.EB-8014
ISBN 9790004174197. 9 x 12 inches. German.
SKU: CA.1244705
ISBN M-007-24809-3. German. Text: Immanuel de Gilde.
Score available separately - see item CA.1244700.
SKU: LM.26713
ISBN 9790230967136.
DUVERNOY J.B. : Etude - PROKOFIEV Serge : Matin - GOEDICKE Alexander : Etude - SCHUMANN Robert : Allegro grazioso - BERENS Hermann : Etude - ZIPOLI Domenico : Sarabanda - ALLERME Sophie : Air romantique - GURLITT Cornelius : Etude - ALLERME Sophie : I can do it - CLEMENTI Muzio : Etude - CHOSTAKOVITCH Dimitri : Valse lyrique - HELLER Stephen : Etude - BACH Johann Sebastian : Invention - BERTINI Henri : Etude - SCHUBERT Franz : Impromptu - BERTINI Henri : Etude - BEETHOVEN Ludwig van : Menuet - BERTINI Henri : Etude - BRAHMS Johannes : Valse - BERTINI Henri : Etude - DEBUSSY Claude : Golliwogg's cake walk - BERTINI Henri : Etude - MOZART Wolfgang Amadeus : Variation - BERENS Hermann : Etude - BACH Johann Sebastian : Invention - BERTINI Henri : Etude - FRANCK Cesar : Piece - BERTINI Henri : Etude - KABALEVSKI Dimitri : Ballade - BEETHOVEN Ludwig van : Sonate au clair de lune - BERTINI Henri : Etude - BRAHMS Johannes : Valse.
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: LM.26477
ISBN 9790230964777.
SCHYTTE Ludvig : Etude - ALLERME Sophie : First Age Blues - ALLERME Sophie : Petite Valse - GOEDICKE Alexander : Etude - SCHYTTE Ludvig : Etude - BARTOK Bela : Sorrow - SCHYTTE Ludvig : Etude - ALLERME Sophie : Harp - FREY Martin : Etude - MOZART Wolfgang Amadeus : Arietta - GOEDICKE Alexander : Etude - ALLERME Sophie : Melo - BRUNNER A. : Etude - BACH Johann Sebastian : Musette - ALLERME Sophie : Valse de France - SCHYTTE Ludvig : Etude - BERENS : Etude - SCHUMANN Robert : The hiding Cuckoo - ZILCHER : Etude - OESTEN : Mazurka - GOEDICKE Alexander : Etude - GURLITT : Time for action - FREY Martin : Etude - KABALEVSKI Dimitri : Galop - FREY Martin : Etude - ALLERME Sophie : Boogdega - ROZYCKI : Etude - BEETHOVEN Ludwig van : Romance - OFFENBACH Jacques : Can-Can.
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