SKU: BR.PB-14560
The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.
ISBN 9790004211014. 10 x 12.5 inches.
Beethoven's autographs of the first three piano concertos opp. 15, 19 and 37 are the earliest of all orchestral scores which have survived integrally. Thanks to source studies, we know today that a first version of the Concerto in Bb major op. 19 had already originated in Bonn in 1790 at the latest. It was followed by a second version written in Vienna most likely in 1793 which included the Rondo in Bb major WoO 6 as finale. A third version followed most probably in 1794 and led to the fourth and final version, written in Prague in October 1798, as Beethoven sojourned there at the beginning of the concert season. (from the Preface)This autograph together with the autograph solo part which was made at the beginning of 1801 and the parts printed in the same year, are the main sources of the present edition.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: SA.40055
ISBN 9781608740055. 7.44 x 9.69 inches.
Liszt's second concerto had its beginnings in 1839 or 1840 and was subjected to a number of revisions until 1861. The first performance, on January 7, 1857, featured the composer conducting the Weimar Staatskappelle and his student Hans von Bronsart as soloist. This new score is a digitally enhanced reprint of the one first issued by Breitkopf und Hartel in 1914 as part of the Liszt complete works.
SKU: BR.PB-4485
Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties.
EB 3942 is printed in score form; two copies are needed for performance.Have a look. Solo concerto; Romantic. Full score. 68 pages. Duration 30'. Breitkopf and Haertel #PB 4485. Published by Breitkopf and Haertel (BR.PB-4485).
ISBN 9790004203910. 9 x 12 inches.
Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties. Since he needed effective, virtuoso works for his major concert appearances with orchestral accompaniment, he decided to simply write them himself. Although it is clear that the piano part always holds center stage in these pieces, Chopin never degrades the orchestra by turning it into a stereotypical cue-giver. This is confirmed by the imaginatively orchestrated tutti transition in the first movement, the lengthy string tremolo in the middle movement and the col legno passage in the finale.The first performance of the f-minor concerto took place in Warsaw on 17 March 1830. The first edition of the score was published in 1879 by Breitkopf & Hartel in Leipzig. The present edition for two pianos by Ignaz Friedmann was first issued in 1913 in the framework of the 12-volume Chopin edition for which the Polish pianist undertook a careful evaluation of the sources.Frederic Chopin's Piano Concertos in e minor op. 11 and f minor op. 21 were written when the composer had just barely entered his twenties.
SKU: SA.41762
ISBN 9781608741762. 9.5 x 12.5 inches.
Composed in the late summer of 1876, Dvorak's first effort at a full-blown concerto shows signs of an unusual amount of revision in the composer's hand - especially for the solo piano part. This might explain the delay in the concerto's premiere, which was given at the Provisional Theatre in Prague on March 24, 1878 with Karel Slavkovsky as soloist accompanied by the Provisional Theatre Orchestra under the baton of Adolf Cech. The composer himself wrote: I see I am unable to write a Concerto for a virtuoso; I must think of other things. The ungainly solo part no doubt also played a role in the work's dely in publication, which didn't take place until 1883. Even after this, and despite much beauty in the music itself, performances were scarce due to the difficulty and charchter of the solo part. The solo part was revised heavily by the Czech pianist Vilem Kurz (1872-1945), whose version was premired by his daughter Ilona KurzovA! and the Czech Philharmonic on December 9, 1919 and is the one most often performed today. This new study score is a digitally enhanced reissue of the full score first published in 1956 by the Czech State Publishers as part of the Dvorak collected works, edited by Jiri Berkovec and Karel Solc, which includes both the composer's original solo part and the re-arranged one made by Kurz. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.
SKU: BR.PB-15164-07
ISBN 9790004215906. 6.5 x 9 inches.
The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg.
SKU: BR.PB-15152
In Cooperation with G. Henle Verlag
ISBN 9790004215579. 10 x 12.5 inches.
SKU: BR.EB-10859
ISBN 9790201808598. 9.5 x 12 inches.
After achieving sensational success with the musical Lady, be good! , with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue , Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction).
SKU: BR.PB-4311
The present work originated in Leipzig between 1730 and 1733. It is Johann Sebastian Bach's best-known harpsichord concerto and, from a technical point of view, may be considered as his most typical harpsichord concerto.
ISBN 9790004202494. 9 x 12 inches.
SKU: BR.PB-15140
ISBN 9790004214763. 10 x 12.5 inches.
After achieving sensational success with the musical Lady, be good!, with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue, Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction).
SKU: BA.BA10420
ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge.
Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.
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
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