SKU: HL.49004427
ISBN 9790001045971.
SKU: HL.49004426
ISBN 9790001045964.
SKU: HL.132241
ISBN 9788392036517. UPC: 884088970758. 9.25x12.0x0.257 inches. Chopin National Edition (ed. Jan Ekier and Pawel Kaminski).
Called Concerto No. 2, it was written before what is known as Concerto No. 1 (Op. 11). The piece is also available in other Urtext National Editions. 00132292 is the version for one piano. 00132242 is the two piano reduction. 00132289 is a historical version of the full score. The National Edition of the Works of Fryderyk Chopin Published by PWM Exclusively Distributed by Hal Leonard Corporation Co-Editors Jan Ekier and Pawel Kaminski The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analyzed with up-to-date scientific and musicological methodology. The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort. The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume. The Performance Commentary appended to each volume includes: the realization of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the harmonic legato (a performance technique often used by Chopin and now forgotten). About the National Edition Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin.
SKU: BR.PB-5541-07
Urtext braves negligently notated autograph
ISBN 9790004213513. 6.5 x 9 inches.
Mozart's late E flat major Symphony was written in 1788, presumably for subscription concerts that ultimately did not take place. The new edition is based on the sole extant authentic source, the autograph from the Biblioteka Jagiellonska in Krakow. Unfortunately, the manuscript was notated negligently and faultily, which forced the editor to make frequent decisions about whether Mozart did or did not intend different articulations at many passages. Cliff Eisen's editorial competence was a major asset here.Urtext braves negligently notated autograph.
SKU: BR.OB-5624-30
ISBN 9790004348710. 10 x 12.5 inches.
The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.First printing posthumously 1851 (Rietz).
SKU: AP.11797S
UPC: 038081114866. English.
Vernon Leidig has captured the drama and majesty of the original in this arrangement for full orchestra. Slightly abbreviated in length, the scoring is full (including optional percussion) and accessible to a wide range of abilities. Although technically easier, musically the piece can be a challenge to any group.
SKU: HL.49004420
ISBN 9790001045896. UPC: 073999935530. 9.0x12.0x0.009 inches.
SKU: TM.01578SET
No. 1 Popular Song (Im Volkston), No. 2 Cowkeepers Tune and Country Dance (Kuhreigen und Bauerntanz).
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: BR.PB-14615
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214909. 10 x 12.5 inches.
The Famous One in the Leading EditionBeethoven spent a relatively long time on his 5th Symphony. Thus, first sketches can already be found from as early as 1804, four years before the work was premiered in Vienna in December 1808. Not only impressive is its striking opening theme, letting everyone know immediately that this is Beethoven being played, but also its nickname symphony of fate. Nothing in the sources prefigures the much-cited fate, musically knocking here at the door. The autograph of the score and the set of parts prepared from it, including Beethoven's revisions, serve as the main sources of this Urtext edition, together with the missing copy of the score, now extant only incomplete in photographs, and the original edition of the parts authorized by Beethoven. The new performance material is based on the recently published volume of the New Beethoven Complete Edition.
SKU: BR.PB-5566-07
3 Work Stages, 2 Versions, 1 Edition
,,… the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)
ISBN 9790004213766. 6.5 x 9 inches.
With the new edition of the G-minor Symphony, a vital work group in Mozart's oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the Hafner Symphony, Henrik Wiese uncovers in the present Breitkopf Urtext score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as Fassung letzter Hand. A compelling insight which sheds new light on the famous G-minor Symphony. Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts.Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages of OB 5542 - Violin II.),,... the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)3 Work Stages, 2 Versions, 1 Edition.
SKU: HL.49004421
ISBN 9790001045902. 9.0x12.0x0.098 inches.
SKU: HL.49004423
ISBN 9790001045926.
SKU: HL.49004424
ISBN 9790001045940.
SKU: HL.49004422
ISBN 9790001045919.
SKU: HL.49004425
ISBN 9790001045957.
SKU: HL.49004428
ISBN 9790001045988.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: HL.48187614
UPC: 888680840013. 5.5x7.5x0.442 inches.
Johannes Brahms: Symphony No.4, Op.98 (PH5) (Orchestra).
SKU: TM.08321SC
Score and chorus are the Critical Edition (#02276). Chorus sold as separate Soprano, Alto, Tenor, or Bass parts.
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