The Stick Bag Book of Jazz, Funk and Fusion. (Compact Reference Library). By Felipe Orozco and Terry Silverlight. Music Sales America. Softcover. 64 pages. Amsco Publications #AM985776. Published by Music Sales.

Choir

SKU: ST.B363

Composed by William Byrd. Edited by Craig Monson. Library Volumes. The Byrd Edition Volume 1. Edited by Craig Monson. First published: 1977. Pages: 256. Format: Paperback. Dimensions (mm): 251 x 174 x 17. .  . Choral collection. Stainer & Bell Ltd. #B363. Published by Stainer & Bell Ltd. (ST.B363).

ISBN 9790220202834.

Lavishly produced, the 1575 Cantiones, quae ab argumento sacrae vocantur by Byrd and Tallis celebrated not only the composers' acquisition of the royal patent for the printing and marketing of part-music and lined music paper, but also their mastery of the continental polyphonic style. Though the edition was only moderately successful, a number of Byrd's 17 motets in 5 and 6 parts survived in manuscript sources until the Commonwealth period. Three motets were also adapted to English words.

Books and Journals

SKU: UT.APS-8

Edited by Jonathan Goldman. Paperback (Soft Cover). Ad Parnassum Studies. Essays by Giacomo Albert, Nicola Bernardini, Remy Campos, Michael Dias, Mylene Gioffredo, Jonathan Goldman, Robert Hasegawa, Joel V. Hunt, Anna Stoll Knecht, Benjamin M. Korstvedt, Federico Lazzaro, Alessandra Carlotta Pellegrini, Camille Rondeau, Friedem. Classical. Books and Journals. 320 pages. Ut Orpheus #APS 8. Published by Ut Orpheus (UT.APS-8).

ISBN 9788881094967. 6.5 x 9.5 inches.

Saggi di Giacomo Albert, Nicola Bernardini, Remy Campos, Michael Dias, Mylene Gioffredo, Jonathan Goldman, Robert Hasegawa, Joel V. Hunt, Anna Stoll Knecht, Benjamin M. Korstvedt, Federico Lazzaro, Alessandra Carlotta Pellegrini, Camille Rondeau, Friedemann Sallis


A growing number of music scholars have lately shifted their attention from musical works to the creative processes that produced them. The study of these processes serves as a springboard for interdisciplinary research that goes beyond the traditional boundaries of musical philology. These recent orientations adopt a heuristic approach to musical craft in the composer's workshop and build on the rich heritage of sketch studies, while incorporating psychological, anthropological, sociological, historical and analytical methods. The study of the creative process in music also seeks to adapt the apparatus of literary critique genetique. Scholars of creative process also regularly turn their attention to artistic situations in which sketches and scores may not be available as loci of investigation and seek to adapt the tools of creativity studies to research not only on composers, but also performers, improvisers, and even artistic directors, recording engineers, radio producers, commissioners or any other actor in the musical field.
Texts and Beyond offers new orientations in the study of the creative process in music. The essays included here show a particular interest in unfinished works and in the logic of their completion, as well as in the creative interaction of music coupled with other arts. In twelve chapters and an Afterword, this volume explores a wide variety of topics, including compositions by Anton Bruckner, Gustav Mahler, Charles Koechlin, Giacinto Scelsi, Henry Brant, Luciano Berio, Brian Ferneyhough, Jacques Hetu and Jose Evangelista, as well as extending to the realm of ballet staging, composing for the cinema and video art.

Violin

SKU: HL.48020681

Composed by Géza Szilvay. FENNICA GEHRMAN. Instruction, Method. Softcover. 110 pages. Fennica Gehrman #M550093256. Published by Fennica Gehrman (HL.48020681).

11.75x8.25x0.53 inches.

The Colourstrings method uses a color for each string and focuses on teaching children rhythm and technique on open strings while gradually introducing them to more complicated methods. Spiral bound. “This excellent method for the young musical generation has proved to be really very succesful. It is b now a fully esttablished method and has already produced many fine string players.” –Maz Rostal, The Late Professor, CBE, Honorary President of ESTA.

SKU: GI.G-6532

A Tribute to Frederick Fennell. Composed by Robert S. Simon. Music Education. Book. 240 pages. GIA Publications #6532. Published by GIA Publications (GI.G-6532).

ISBN 9781579994723. English.

“For over seven decades, Frederick Fennell has been America’s Ambassador of music around the world. I have loved his editions and recordings since I first played them in high school. It was an honor to have him conduct the Marine Band as President and I congratulate him on this richly deserved lifetime achievement tribute and award.” — The Hon. William J. Clinton 42nd President of the United States Every generation produces a handful of rare individuals with natural talent for, and unwavering dedication to, their art. One such case is the American-born international conductor Frederick Fennell. This volume spans his remarkable career from his humble beginnings in Cleveland, Ohio, to his emergence as one of the most significant conductors, recording pioneers, and music educators in the world. This collection of writings and more than 100 photographs from the maestro’s colleagues and students demonstrates his sensitive, perceptive, and enthusiastic approach to leadership and his profound influence on the profession. A wonderful tribute to one of the true greats, beautifully produced, this book is worthy of any coffee table or personal library. Spans the remarkable career form his humble beginnings to his emergence as one of the most significant conductors in the world.

Choral (Score)

SKU: HL.49019937

Mixed Choir and Organ. Composed by John Casken. This edition: Saddle stitching. Sheet music. Choral. General Worship, Sacred. Softcover. Composed 2012-2013. 30 pages. Duration 15'. Schott Music #ED13536. Published by Schott Music (HL.49019937).

ISBN 9790220134159. UPC: 888680029135. 8.25x12.0x0.135 inches. English. Choral Music of Our Time.

John Casken's Magnificat and Nunc Dimittis was commissioned to mark the return of the Lindisfarne Gospels to the North East of England, where Casken lives. The book, dating from the 7th century, is one of the finest examples of Anglo-Saxon Northumbrian illuminated manuscript, containing the oldest surviving translation of the Gospels into English. The manuscript was produced at a monastery on the island of Lindisfarne but is normally housed at the British Library in London, and its special exhibition in the Palace Green Library at Durham was marked by a summer-long celebration of the arts. Casken's Magnificat and Nunc Dimittis is set in English.

Chorus (with soloists) and orchestra (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.PB-5596-07

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; Softbound. Partitur-Bibliothek (Score Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Study Score. 188 pages. Duration 52'. Breitkopf and Haertel #PB 5596-07. Published by Breitkopf and Haertel (BR.PB-5596-07).

ISBN 9790004214060. 6.5 x 9 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Violin 2 (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-16

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 24 pages. Duration 52'. Breitkopf and Haertel #OB 5562-16. Published by Breitkopf and Haertel (BR.OB-5562-16).

ISBN 9790004342299. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Viola (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-19

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-19. Published by Breitkopf and Haertel (BR.OB-5562-19).

ISBN 9790004342305. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Chorus (with soloists) and orchestra (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.PB-5596

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; Softbound. Partitur-Bibliothek (Score Library). Mass; Classical. Study Score. Duration 52'. Breitkopf and Haertel #PB 5596. Published by Breitkopf and Haertel (BR.PB-5596).

ISBN 9790004214060. 6.5 x 9 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Continuo (figured) (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-12

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 24 pages. Duration 52'. Breitkopf and Haertel #OB 5562-12. Published by Breitkopf and Haertel (BR.OB-5562-12).

ISBN 9790004344460. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Chorus a cappella (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.CHB-5387

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Chor-Bibliothek (Choral Library). Mass; Classical. Sheet Music. Duration 52'. Breitkopf and Haertel #CHB 5387. Published by Breitkopf and Haertel (BR.CHB-5387).

ISBN 9790004413883. 7.5 x 10.5 inches. Latin.

The performance material of the pioneering completion of Mozart's great Missa in cK. 427 by the Dutch musicologist Clemens Kemme is now completed with a choral score. The reconstruction, seen by many international experts as the most convincing solution, especially in the double-choir Sanctus fugue, thus becomes affordable for larger choirs. The compact and clearly arranged choral score is also considerably lighter than the piano vocal score; cue notes provide good orientation within the work.

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Chorus a cappella (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.CHB-5387-02

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Chor-Bibliothek (Choral Library). Mass; Classical. Sheet Music. 44 pages. Duration 52'. Breitkopf and Haertel #ChB 5387-02. Published by Breitkopf and Haertel (BR.CHB-5387-02).

ISBN 9790004413883. 7.5 x 10.5 inches. Latin.

The performance material of the pioneering completion of Mozart's great Missa in cK. 427 by the Dutch musicologist Clemens Kemme is now completed with a choral score. The reconstruction, seen by many international experts as the most convincing solution, especially in the double-choir Sanctus fugue, thus becomes affordable for larger choirs. The compact and clearly arranged choral score is also considerably lighter than the piano vocal score; cue notes provide good orientation within the work.

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

Double bass (3(picc)2.2.2 - 4.2.3.1 - timp.(cym ad lib.) - str)

SKU: BR.OB-5558-27

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Christoph Flamm. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library).

Tchaikovsky's Hamburg Symphony in the Urtext

Symphony; Romantic. Part. 16 pages. Duration 44'. Breitkopf and Haertel #OB 5558-27. Published by Breitkopf and Haertel (BR.OB-5558-27).

ISBN 9790004344699. 10 x 12.5 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tchaikovsky's Hamburg Symphony in the Urtext.

Orchestra

SKU: BR.SON-627

Ouverture JS 145, Baletscen JS 163. Composed by Jean Sibelius. Edited by Tuija Wicklund. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 196 pages. Breitkopf and Haertel #SON 627. Published by Breitkopf and Haertel (BR.SON-627).

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.