SKU: BA.BA08708-01

ISBN 9790006537846. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh. Text: Leterrier, Eugène / Vanloo, Albert.

WithL'Etoile, Chabrier composed a light-hearted opera which has increasingly enjoyed revivals in recent years.

The plot is introduced by King Ouf I who offers his subjects an execution every year on his birthday. Unfortunately the problem now arises that no crime has recently been committed which might serve as a reason for an execution. Finally, he finds a would-be victim in the young Lazuli. However, according to predictions by the astrologer Siroco, Lazuli's fate is closely linked to the king's own life. The comic opera is further bolstered by a story of mistaken identities which involves a great deal of diplomacy, a love story and a large number of refined, yet catchy melodies.
Chabrier was a master of the sensitive and complicated art of musical comedy, a field where he can be compared in equal measure to Offenbach, Rossini and Mozart.

This vocal score is based on the full score edited by Hugh Macdonald which is published as part of the seriesL'Opera francais.

- Authoritative Urtext edition based on the seriesL'Opera francais
- Original French text with a German singing translation
- Comprehensive foreword (Ger/Eng/Fr)

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SKU: BA.BA11305

ISBN 9790006567027. 31 x 24.3 cm inches. Text Language: Latin. Preface: Stahl, Christina M.

Psalm 137 Super flumina Babylonis also known as By the rivers of Babylon was an inspiration for many composers including Camille Saint-Saëns. He repeatedly occupied himself with his psalm motet for solo soprano, mixed choir, saxophone quartet, string orchestra and organ, originally composed in 1854. Two of the four versions â?? the first version in Latin and a much later version in English for alto solo, SATB choir and piano â?? are now available for the first time in Urtext performing editions taking a meticulous account of all the sources.

Saint-Saëns lived up to his reputation as an innovative composer by exploring the use of the saxophone family in sacred music just a few years after the invention of these instruments. The successful combination of voice and saxophone creates a special sound experience.

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SKU: BA.BA04052

ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.

Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late in the proceedings, to replace an earlier one which is now 1ost.

There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.

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SKU: BA.BA10506-01

ISBN 9790006552009. 33 x 26 cm inches. Text Language: Italian. Text: Sterbini, Cesare.

Barenreiter's publication of a new volume of theWorks of Gioachino Rossini, in collaboration with the Center for Italian Opera Studies at the University of Chicago, makes available an edition of the operaIl barbiere di Sivigliawhich meets modern demands. The editors have recently identified numerous carelessly edited places in the last critical edition by referring to additional sources. The greatest changes relate to the overture; for the new edition, no fewer than twenty different autograph manuscripts have been consulted.

A detailed appendix containing alternative vocal parts, advice on ornamentation and compositions by Rossini significant in the performance history of the opera complete the volume.

A 420-page Critical Commentary is published separately. With this, a critical edition is now available to interpreters, enabling them to perform Rossini's ,,Barber of Sevillewith the greatest possible confidence in the accuracy of the musical material. The performance material is available on hire, and a vocal score will be published at the end of 2009.

Through 1829 Rossini was an extraordinarily prolific composer of operas, comic, serious, and semiserious, in Italian and French, as well as of a great deal of vocal and instrumental music. He composed sacred music, vocal treatises, cantatas. Then, for many different reasons, he wrote very little music for more than twentyfive years, if we except some songs and the ' Stabat Mater' . Only after he left Italy definitively for Paris in 1855 did he find his voice again.

Between 1857 and 1868 a fresh group of masterpieces issued from his pen, the so-called ' Peches de vieillesse' (Sins of Old Age), including chamber music, songs, and the 'Petite Messe Solennelle'.

Philip Gossett, General Editor of Works of Gioachino Rossini, is the Robert W. Reneker Distinguished Service Professor at The University of Chicago and a professordi chiara famaat the University of RomeLa Sapienza. He is also general editor of The Works of Giuseppe Verdi.

Barenreiter in cooperation with the Center for Italian Opera Studies at The University of Chicago will publish ten volumes in the series Works of Gioachino Rossini, in critical editions, during the period 2007-2011. These are all volumes that were not issued in theEdizione critica delle opere di Gioachino Rossini.

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SKU: BA.BA05576

ISBN 9790006575954. 31 x 24.3 cm inches. Key: E-flat major. Text Language: Latin.

We know relatively little about the genesis of Schubertâ??s Mass in E-flat major (D 950) which he completed in 1828, a few months before his death. The work was not performed during his lifetime and we can only speculate what might have caused the composer to write this Missa solemnis.

In the preface to this volume of the New Schubert Edition, editor Rudolf Faber assembles all documented facts. Furthermore, he focuses on the accents, which are such a characteristic element of Schubertâ??s autograph scores, and explains how Schubert used them in a very differentiated manner, in particular in the Mass in E-flat major. In order to do justice to these subtle differences, the New Schubert Edition has introduced a new symbol: an accent which is flexible with regard to its length and which makes it possible to visualize Schubertâ??s sophisticated employment of emphasis and accentuation.

The work is scored for large orchestra (without flutes), chorus, and one soprano as well as two tenors as soloists. In Schubertâ??s autograph the organ is not explicitly called for, but Ferdinand Schubert added an organ part for the posthumous premiere on 4 October 1829 at the Dreifaltigkeitskirche of Vienna Alservorstadt.

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