SKU: AP.48092
UPC: 038081553948. English.
This emotional and heartfelt piece, From Darkness, Joyful Sounds Are Born, by Richard Meyer, is all about facing and overcoming the hardships we all encounter during our lifetime. It begins with a brief depiction of happy times and then descends into sounds of sadness and sorrow. Before long, joy emerges in the form of cheerful melodies, clapping, stomping, and singing, performed by the orchestra and the audience in a rousing call-and-response celebration. An amazing way to bring together everyone in the concert hall, this selection is sure to provide an unforgettable experience for your students and their audience! (7:30).
SKU: AP.48092S
UPC: 038081553955. English.
SKU: BR.PB-5364
ISBN 9790004211458. 10 x 12.5 inches.
Autograph lays bare Mendelssohn's Overture to A Midsummer Night's Dream To this day, Mendelssohns epoch-making Overture to A Midsummer Night's Dream has been performed on the basis of a more than dubious transmission. Neither the first edition of the parts (1832), and certainly not the print of the score based on these parts (1835) go back directly to the autograph of the 17-year-old composer, which is now located in Krakow. No wonder, since Mendelssohn had breezily given away his original at an early date. The result: during his lifetime, versions were published with his authorization, even though they were full of unintended inconsistencies. Yet the autograph of 1826 is unequivocal: it is clear, practically free of irregularities and diverges considerably from the corrupted printed version. Christian Martin Schmidt comes up with occasionally differing musical passages, but above all with logical and compositionally compelling performance instructions, laying bare to musical practice the original form buried beneath layers of falsified material for the first time.Christian Martin Schmidt is laying bare to musical practice the original form of Mendelssohn's epoch-making Overture to A Midsummer Night's Dream buried beneath layers of falsified material for the first time.
SKU: BR.PB-5581
ISBN 9790004213919. 10 x 12.5 inches.
A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.
SKU: BR.PB-5598-07
ISBN 9790004214954. 6.5 x 9 inches.
SKU: BA.BA08893
ISBN 9790006567560. 33 x 24.3 cm inches. Text: Duplat de Monticourt, Pierre-Jacques.
This edition unites all the purely instrumental parts of Rameau’s comdie-ballet “Les Paladins†for performance as a suite in the concert hall.In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Borades†– the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this stage work not being performed again until well into the 20th century. The story that the comdie-ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries†(i.e. “The little dog who shakes silver and stonesâ€). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opra.This critical edition is based on the corresponding volume issued in the series “Opera omnia Rameau†(BA 8870-01). Since “Les Paladins†remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètesâ€, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians.The orchestral parts are available on hire.
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: BR.OB-5623-30
ISBN 9790004348772. 10 x 12.5 inches.
Certainly Robert Schumann was right when he stated soon after Beethoven's death that the latter's conception of the symphony as a great, universal confessional work was hardly to be continued by the next generation of composers. He saw a solution to the dilemma in the creation of autonomous concert overtures, such as those written, for instance, by Felix Mendelssohn Bartholdy: Four of his overtures were printed during his lifetime, and others were extant in manuscript, though frequently and successfully performed by the composer. Belonging to the latter group is the Trumpet Overture, begun in 1825 and performed three times between 1828 und 1833 on prominent occasions in Berlin, Dusseldorf, and London.First printing posthumously 1851 (Rietz).
SKU: BR.OB-5623-15
ISBN 9790004348727. 10 x 12.5 inches.
SKU: BR.OB-5623-16
ISBN 9790004348734. 10 x 12.5 inches.
SKU: BR.PB-5623
ISBN 9790004215203. 10 x 12.5 inches.
SKU: BR.OB-5623-23
ISBN 9790004348758. 10 x 12.5 inches.
SKU: BR.OB-5623-19
ISBN 9790004348741. 10 x 12.5 inches.
SKU: BR.OB-5623-27
ISBN 9790004348765. 10 x 12.5 inches.
SKU: HL.51487451
UPC: 196288158110. 6.75x9.5x0.294 inches.
Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrtext edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: BR.PB-5745
ISBN 9790004217078. 10 x 12.5 inches.
Immediately after finishing his First Symphony in B flat major op. 38, Robert Schumann wrote the present D minor Symphony in 1841. Despite its successful world premiere at the Leipzig Gewandhaus on 4 December 1841, this first version remained unpublished during the composer's lifetime. It took the great Johannes Brahms himself to recognize its qualities and commit himself actively and successfully to a renewed performance in 1889. We owe it to the many supporters of the two versions that they practically stand on an equal footing today, and are both often heard in the concert hall.
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