Par ROSSINI GIOACHINO. This study score is based on the critical edition of “ The Barber Of Seville ” edited by Patricia B. Brauner and published in 2008 as part of the series “Works of Gioachino Rossini”. But who needs a new critical edition of “ The Barber Of Seville ”? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly, none of the early editions satisfy modern demands for a scholarly-critical edition. Secondly, there is a wealth of previously unpublished material relating to this opera, of great interest to both scholars andperformers. Thus the famous overture, which Rossini had already used in his earlier opera “Aureliano in Palmira”, differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in “Aureliano in Palmira”), which includes two Flutes, two Oboes and Timpani, or in the scoring for the subsequent opera “ The Barber Of Seville ” (with just one flute, one oboe and no timpani). A series of appendices contain music and information which have been included in no other edition of the opera to date. - Takes into account all original sources, also including five manuscripts with Rossini’s autograph ornamentation. - Takes into consideration the full extent of Rossini ’s personal notational characteristics. - With a detailed foreword (Eng/Ital)/ Répertoire / Partition de Poche

a 6 et a 8. Par MOZART WOLFGANG AMADEUS. The Serenade in E-flat, K. 375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet. From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa. The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work's melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave. - Urtext of the New Mozart Edition - Parts sextet version (BA5333), octet version (BA5334) and study score both versions format 22. 5 x 16. 5cm (TP315) available for sale/ Répertoire / Partition de Poche

Par SCHUBERT FRANZ. This study score of Franz Schubert 's complete string trios (Violin, Viola and Violoncello) takes its text from the New Schubert Edition. It also includes Schubert 's very first essay in the genre, which only resurfaced in 1997: the draft trio in B-flat major, D 111A (1814). Besides this draft, two other trios in B-flat major written a short while later have come down to us: D 471 and D 581. The first is likewise a fragment as it breaks off in m. 39 of the second movement. D 581 survives in two versions, the first based on the autograph score, the second on a set of parts prepared and thoroughly revised by Schubert. Both versionsprovide useful performance alternatives that differ widely in their form, rhythm, articulation and dynamics. - All of Schubert 's string trios - All drafts and alternative versions for the first time in a study score - Urtext from the New Schubert Edition Contents: - Trio in B-flat major, D 471 (movement 1) - Trio in B-flat major, D 581 (versions 1 and 2) - Incomplete first movement to Trio in B-flat major, D 111A - Incomplete second movement to Trio in B-flat major, D 471/ Répertoire / Partition de Poche

Par MENDELSSOHN-BARTHOLDY FELIX. Christopher Hogwood's first ever critical edition of the much performed concert overture goes back for the first time to all the sources. Hogwood examines not only Mendelssohn's autograph but also the first edition of the score and orchestral parts which Mendelssohn saw to print. A manuscript copy with additional music thought to have been performed under Mendelssohn's direction, but later deleted, as well as the composer's own two and four-hand piano arrangements of the composition were also taken into account. As with the other overtures in this series, the score contains a lengthy introduction, a critical commentary andfacsimiles. First ever critical edition of this concert overture. Additional music included in score and parts stemming from a source used by Mendelssohn for a performance of the work. Full score & parts (BA9056) and study score format 22. 5 x 16. 5cm (TP396) available for sale/ Répertoire / Partition de Poche

Orchestral version of 1785. Par HAYDN FRANZ JOSEF. The Seven Last Words Of Our Saviour On The Cross Hob. XX:1A - Orchestral version of 1785. Urtext from Joseph Haydn Werke, G. Henle Verlag Munich. Study score format 22. 5 x 16. 5 cm. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores atextremely affordable prices! The Vocal version is published as BA4655. Vocal score (BA4655-90) available for sale; full score & performance material available for hire./ Répertoire / Partition de Poche

Par MOZART WOLFGANG AMADEUS. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Partition de Poche