SKU: HL.49015420
ISBN 9783795751562. 9.0x12.0x0.269 inches. German.
Tune Book 2 of Mauz' Clarinet Method is adjusted to the content of Vol. 2 of the method. It provides additional performance material for clarinet and piano as well as for 2 or 3 clarinets. German and international songs, several canons as well as short pieces from the Classical, Romantic and Modern eras shall further deepen the joy of joint music-making.
SKU: BR.SON-433
ISBN 9790004802892. 10 x 12.5 inches.
Felix Mendelssohn Bartholdy's violin concerto op. 64 had - like many of his other works - a lengthy genesis: it is in the summer of 1838 that surviving documents first mention the promise made to his friend Ferdinand David, concert master of the Leipzig Gewandhaus, to write, besides a sonata, a grand solo concerto for him. Ultimately, work on this opus continued - with some longer interruptions - until September 1844. Even then, it owed its preliminary completion in no small measure to the constant urging of the prospective solo violinist. But after the ,,official handing-over of the parts to David and a first joint rehearsal of the concert in Leipzig Mendelssohn continued working on the score. There subsequently began an intensive correspondence with David between Leipzig and Frankfurt am Main, where Mendelssohn resided with his family, in particular concerning issues of the principal part and the reworking of the solo cadence. In March 1845 the then current version of the work was premiered in a subscribers' concert in Leipzig.This volume deals with Mendelssohn's first complete manuscript of the score with the corrections contained therein, including all surviving drafts and sketches; also included is the epistolary evidence of the correspondence with Ferdinand David prior to the premiere. The further developments up to the printing of the main version of op. 64 by Breitkopf & Hartel are dealt with in Series II, Vol. 7 of the edition.
SKU: BA.BVK02201
ISBN 9783761822012. 38 x 24 cm inches. Text Language: German, English.
The cantataAllein zu dir, Herr Jesu ChristBWV 33, composed for the Thirteenth Sunday after Trinity in 1724, is now the only vocal work by Bach for which the complete source material from the time of composition can be published in facsimile. It is one of the few works by Bach for which material from the first performance survives almost complete. But this is held in different locations on several continents: the composition score is preserved in the Scheide Library at Princeton , US , the performance parts in the Bach- Archiv Leipzig and the libretto of 1724 in the Russian National Library in St. Petersburg . All these components have now been published in a high-quality facsimile edition. This valuable edition, with a slip case, offers both specialists and lovers of Bach's music a unique insight into the composer's working methods and the changing performing circumstances he encountered. Additional information is contained in a detailed commentary (in German and English) by Christoph Wolff and Peter Wollny . BWV 33 belongs to the unique annual cycle of chorale cantatas composed by Bach in 1724/25, the second year of his Leipzig tenure. The cantata is one of the very few works where all the relevant source materials for the first performance have been preserved but are kept in various libraries throughout the world : The composing score is kept at the Scheide Library in Princeton, the vocal-instrumental performing parts at the Bach Archive Leipzig and the original libretto at the Russian National Library in St. Petersburg. The facsimile offers invaluable insights into the composer's workings and the changing conditions for performances under his direction. - Published to commorate the 325 th anniversary of Bach's birth on 21 March 2010 - Limited edition of 100 copies - Net proceeds go to the Bach Archive, Leipzig
SKU: CA.3106900
ISBN 9790007044237. Key: D major. Language: German/English.
Reworking of the cantata of the same name for the 12th Sunday after Trinity Sunday (BWV 69a). Original work BWV 69a from 1732; reworking as a cantata for the changing of the town council from the last years of Bach's life.
SKU: CA.3106913
ISBN 9790007044305. Key: D major. Language: German/English.
SKU: CA.3106909
ISBN 9790007044275. Key: D major. Language: German/English.
SKU: CA.3106905
ISBN 9790007044251. Key: D major. Language: German/English.
SKU: CA.3106912
ISBN 9790007044299. Key: D major. Language: German/English.
SKU: CA.3106914
ISBN 9790007044312. Key: D major. Language: German/English.
SKU: CA.3106919
ISBN 9790007136277. Key: D major. Language: German/English.
Reworking of the cantata of the same name for the 12th Sunday after Trinity Sunday (BWV 69a). Original work BWV 69a from 1732; reworking as a cantata for the changing of the town council from the last years of Bach's life. Score and parts available separately - see item CA.3106900.
SKU: CA.3106907
ISBN 9790007044268. Key: D major. Language: German/English.
SKU: HL.51487045
ISBN 9790201870458. UPC: 888680745318. 6.75x9.5x0.244 inches.
In autumn 1895, after returning from New York once and for all, Dvorák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks he composed a new string quartet in G major. Together with the Quartet in A-flat major op. 105, it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes, while his motivic working shows him to be a master at the height of his powers. Even today, it seems almost as if we can feel the composer's satisfaction with this work: “I am working so easily and it is going so smoothly that I could not wish it better.â€.
SKU: HL.49033197
ISBN 9790001134897. UPC: 884088075477. 8.25x11.75x0.071 inches.
Dessau's String Quartet movement was written while he was also working on Brecht's opera Puntila. After Brecht's death in 1956 Dessau found himself looking for a new direction. On the one hand he was still working on music begun in collaboration with the poet, while on the other hand Dessau was trying to work towards a socially oriented musical aesthetic, which led him to compose songs for political purposes. Even this Quartet movement does not owe its inspiration purely to an artistic vision. In spite of its technical demands, the piece is intended to be comprehensible and could even be played by an amateur ensemble in its cleverly reduced form. Only discovered after the composer's death, the Movement for String Quartet is published for the first time in this edition.
SKU: HL.50600566
8.25x11.75x0.07 inches.
The Finnish composer Osmo Tapio Räihälä reports that he experienced a phase whilst working on his Horn Concerto in 2011 during which he had the feeling of “having landed in a deadendâ€. To find a remedy, he decided to develop a kind of “finger exercise†for composers, comparable to the “warming-up process of an instrumental soloist before performingâ€. Räihälä remembers furthermore: “Instead of writing for orchestra, I started a short solo piece for clarinet. Little did I know that I had opened a Pandora's box! I wrote 'Soliloque 1: Étoffé' in two days. Perhaps this frenzy caused the music to become restless, with quick turns – in short, a rather virtuosic etude. The clarinet seeks paths, at first without success, but obviously finding one in the end. And what about the Pandora's Box? I had given the title the number one, and during the next two years I wrote five more Soliloques, solos of six to seven minutes, for various instruments, as well as one for soprano a cappella. The title Étoffé means 'rich', or 'well rounded', but also 'fabric' or even a 'patch' - and I felt that I had patched something in my work that was broken; indeed, working on the concerto now gave me a fresh start.â€.
SKU: HL.49047285
UPC: 196288188780.
In his book the British violinist Irvine Arditti, founder and leader of the world-famous Arditti Quartet, describes his close collaboration with many composers, as Luigi Nono, Luciano Berio, Giacinto Scelsi, Mauricio Kagel, Hans Werner Henze, Karlheinz Stockhausen, John Cage, György Ligeti, Elliott Carter, Jonathan Harvey, James Dillon “It was quite a few years ago that I had the idea to document the many years I have spent in the music profession, first as an orchestral player but then as a soloist and the founder and leader of the Arditti Quartet. My interest in contemporary music goes back to my early teens and has continued through a celebrated 48 years of quartet playing, working with many of the most interestingcontemporary composers.†(Note from the Author).
SKU: HL.49046062
ISBN 9781540041425. UPC: 888680899875. 9.0x12.0x0.095 inches.
Troika is a Russian word meaning 'set of three' or a 'sled pulled by three horses.' In many places in the score there are three rhythmic layers working at different speeds to create a sense of forward motion. Sometimes these layers create a sense of a headlong rush, at other points the music glides along gently. The pianist may find places in the score that evoke other aspects of a troika ride: the winter wind, snow flurries, sleigh bells, horses galloping in tandem, bumps in the path, stars, or perhaps even a moonrise. The work is in three sections with a final coda that repeats material from the opening.Pedaling guidelines are included at various points in the piece. Performers may wish to nuance these in order to fit their individual interpretation.- Gregory SpearsTroika is a Russian word meaning 'set of three' or a 'sled pulled by three horses.' Throughout the piece there are three rhythmic layers working at different speeds to create a sense of forward motion. Sometimes these layers create a sense of a headlong rush, at other points the music glides along gently. The pianist may find places in the score that evoke other aspects of a troika ride: the winter wind, snow flurries, sleigh bells, horses galloping in tandem, bumps in the path, stars, or perhaps even a moonrise.
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
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: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handelâ??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part â??Englishâ? oratorio form that he had developed in â??Estherâ? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from â??Il trionfo del Tempo e della Verità â?.
SKU: HL.14019938
Postcards was written in 1991 for the Vega Wind Quintet, who first performed it at the Huddersfield Festival in the same year. It is a reworking of a set of eight Bagatelles written in 1965: each movement has been rewritten and enlarged to a greater or lesser extent. The title was chosen to emphasise the nature of the pieces, which are in a sense brief postcards from different genres (fugato, dance, etc).
John McCabe (1939-2015) was a British composer, pianist and music administrator. He studied at the Royal Manchester College of Music and built a career as a virtuoso pianist. However, he also wrote several hundred musical compositions,ranging from large-scale orchestral works to chamber music and solo instrumental pieces - it is said the only classical genre he did not write for was opera.
SKU: CA.3118659
ISBN 9790007209896. Key: G minor / c dorian. Language: German/English.
The cantata Argre dich, o Seele, nicht BWV 186 is in a sense the companion work to the much better-known cantata Herz und Mund und Tat und Leben BWV 147. Both were composed in Advent 1716 as Bach's last two cantatas for the Weimar court, and both were arranged for another Sunday in Bach's first Leipzig cantata cycle by the addition of recitatives and a large-scale chorale movement, heard at the end of both parts. The sound of the Cantata BWV 186 is characterized by the four-part woodwind ensemble writing. The final chorale, heard twice, anticipates the opening choruses of the chorale cantatas from Bach's second cycle. Cantata BWV 186 for the 7th Sunday after Trinity is a considerably expanded reworking of a Weimar Advent cantata of 1716. Only the text survives of the Advent cantata, but Diethard Hellmann has been able to reconstruct the work from the later version (Carus 31.186). Score and parts available separately - see item CA.3118600.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
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