SKU: HL.50602262
ISBN 9781540092182. UPC: 888680987596. 9.0x12.0x0.07 inches.
The Not-Doings of an Insomniac - Partita for Solo Double Bass with spoken texts - was premiered by Robert Black at the International Society of Bassist Convention at the Griffin Concert Hall in Fort Collins, Colorado. The Not-Doings of an Insomniac developed as a result of Philip Glass's frequent travels to unfamiliar cities and different time-zones, changes that often bring on bouts of insomnia. While on a trip in Europe in 2015, Glass decided to turn these redundant waking hours into something useful, and one of the results is this Partita for Solo Double Bass, written for Robert Black of Bang on a Can All-Stars fame. The piece is written in seven movements, each with its own title: Not Dreaming, Tasting, Smelling, Hearing, Seeing, Touching respectively, and finishing with Not Beginning. Not Ending. What raises this set into something atmospheric and theatrical are the poems in between each movement. These are by Glass's friends or associates, and the texts by Lou Reed, John Cale, Laurie Anderson, Yoko Ono, David Byrne, Leonard Cohen, Patti Smith and Arthur Russell are read on the recording of this work by Robert Black.
SKU: BA.BA10418-85
ISBN 9790006564699. 32.5 x 25.5 cm inches. Key: G major.
Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.BA07590-85
ISBN 9790006541652. 32.5 x 25.5 cm inches. Preface: Marco Uvietta.
For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem; some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the Liber scriptus, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score as well as a detailed one on the Barenreiter website. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the Liber scriptus for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.
SKU: BA.BA07896-85
ISBN 9790006563395. 32.5 x 25.5 cm inches. Key: C minor.
In this work I gave everything I had to give. [...] What I did here I will never do again.Camille Saint-Saens was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saens - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.* First scholarly-critical edition of this famous symphony based on Camille Saint-Saens aEUR Complete Edition of the Instrumental Works* Now with separate parts for all winds* Orchestral parts in a large format (25.5 cm x 32.5 cm).
SKU: BA.BA07887-85
ISBN 9790006558544. 32.5 x 25.5 cm inches.
The popularity of Faure's Pavane is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Faure began work on a version for choir, which was actually premiered before the orchestral version.This new Barenreiter edition offers conductors and orchestras a reliable Urtext edition of the Pavane's original orchestral version which will surely enhance symphonic concert programmes everywhere.
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