Composed
by George Frideric
Handel. Edited by
Frederik Hudson. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Score. Opus 3/6,
HWV 317. 10 pages.
Duration 8 minutes.
Baerenreiter Verlag
#BA04206_00. Published by
Baerenreiter Verlag
(BA.BA04206).
ISBN
9790006445202. 31 x 24.3
cm inches. Key: D major.
Preface: Frederik
Hudson.
Urtext der
Hallischen
Handel-Ausgabe.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Orchestra SKU: NR.104873 Für Orchester, opus 17, 1917-1918. Compo...(+)
Orchestra
SKU:
NR.104873
Für
Orchester, opus 17,
1917-1918. Composed
by Nikolai Iakovlevich
Miaskovskii. Orchestra
(10 and more
instruments). Score.
Noten Roehr #104873.
Published by Noten Roehr
(NR.104873).
Fur Orchester,
opus 17, 1917-1918
Partitur (2B%0nde).
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Composed by Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. Stapled....(+)
Composed by Antonin
Dvorak
(1841-1904). Edited by
Jonathan Del Mar.
Stapled.
Critical Commentary. Opus
88, No. 8. 50 pages.
Baerenreiter Verlag
#BA10418-40. Published by
Baerenreiter Verlag
Composed by Antonio Vivaldi (1678-1741). Full Orchestra (Full Score); Larger Wor...(+)
Composed by Antonio
Vivaldi (1678-1741). Full
Orchestra (Full Score);
Larger Works;
Masterworks. Dover
Edition. Baroque;
Masterwork. Full Score.
Published by Dover
Publications
(AP.6-406318).
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra - Grade 4 SKU: AP.38442 Movement 1. Composed by Ludwig v...(+)
Orchestra - Grade 4
SKU: AP.38442
Movement 1.
Composed by Ludwig van
Beethoven. Arranged by
Danny Smolenski.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Concert String
Orchestra. Form: Sonata.
Classical; Masterwork
Arrangement; Romantic.
Score and Part(s). 228
pages. Belwin Music
#00-38442. Published by
Belwin Music (AP.38442).
UPC: 038081437422.
English.
This is
one that Beethoven should
have written for strings!
Enjoy the exuberant
opening of this 1798
piano sonata in the
classical style of
Beethoven's early period.
In traditional
sonata-allegro form, this
piece gives a thrilling
ride through a wide range
of dynamics to create an
unforgettably dramatic
experience for listeners
and performers alike. The
arranger has included
suggested cuts if time is
a consideration. An
exciting addition to the
repertoire!
Orchestra SKU: HL.14001616 Composed by Hugo Alfven. Music Sales America. ...(+)
Orchestra
SKU:
HL.14001616
Composed
by Hugo Alfven. Music
Sales America. 20th
Century. Score. Composed
2002. 66 pages. Edition
Wilhelm Hansen #WH13974.
Published by Edition
Wilhelm Hansen
(HL.14001616).
ISBN
9788759857625.
11.75x16.5x0.44
inches.
Full Score
edition of Hugo Alfven's
Midsommarvaka from Opus
19.
Composed
by Giselher Klebe.
Stapled. Barenreiter
Study Scores. Study
score. Composed 1966.
Opus 52. Duration 32
minutes. Baerenreiter
Verlag #TP00125_00.
Published by Baerenreiter
Verlag (BA.TP00125).
Composed by Gabriel Faure (1845-1924). Edited by Robin Tait. For orchestra. This...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
Robin Tait. For
orchestra. This edition:
Urtext edition. Stapled.
Score. Text Language:
English/French/German.
Opus 50. Duration 7
minutes. Published by
Baerenreiter Verlag
Orchestra SKU: NR.104880 Für Orchester, opus 18, 1917-1918. Compo...(+)
Orchestra
SKU:
NR.104880
Für
Orchester, opus 18,
1917-1918. Composed
by Nikolai Iakovlevich
Miaskovskii. Orchestra
(10 and more
instruments). Score.
Noten Roehr #104880.
Published by Noten Roehr
(NR.104880).
Fur Orchester,
opus 18, 1917-1918
Partitur (2B%0nde).
Orchestra (2.2.2.2. -
4.3.3.0. - timp.perc - hp
-str)
SKU:
BR.PB-4862-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Hannover, March
13, 1972
Music
post-1945. Study Score.
Composed 1972. 82 pages.
Duration 15'. Breitkopf
and Haertel #PB 4862-07.
Published by Breitkopf
and Haertel
(BR.PB-4862-07).
ISBN
9790004206591. 7 x 9.5
inches.
Variationen
(Ouverture / Thema /
Variation / Coda),
Lyrisches Intermezzo
(Sostenuto), Symphonische
Nachklange (Allegro con
moto).Immer wieder lassen
sich Komponisten von
Themen alterer oder auch
zeitgenossischer Meister
zu Variations-Zyklen
anregen (Brahms: Handel-
und Haydn-Variationen,
Reger:
Mozart-Variationen,
Holler:
Sweelinck-Variationen).
Themen von Robert
Schumann fanden bisher
relativ selten Beachtung
- (Regers
Schumann-Variationen fur
zwei Klaviere sind eine
Ausnahme) - vielleicht,
weil sie zu sehr in sich
vollendet und
abgeschlossen sind und
deshalb kaum
Moglichkeiten zur
Veranderung enthalten.
Dennoch beschaftigte mich
schon langer die Idee,
eine ,,Musik mit
Schumann, Nachklange oder
Erinnerungen an Schumann
zu gestalten, mit der
Absicht, ein heiteres,
liebenswurdiges (und
nachdenkliches) Werk zu
schreiben, einmal ohne
Experimente-, als
,,Divertimento fur den
Normalhorer, gelegentlich
behutsam verbunden mit
modernen Techniken -
nicht ohne
hintergrundigen Humor.
Der 1. Satz wurde
inspiriert von den
,,Papillons (opus 2 fur
Klavier); er gliedert
sich in vier
variationsahnliche
Abschnitte. Die
,,Ouverture exponiert
drei kurze Themen, die
sich trotz ihres
gegensatzlichen
Charakters wie
selbstverstandlich
erganzen
(Einleitungsgirlande und
Schlussfanfare der
Papillons und das
bekannte Anfangsmotiv aus
,,Vogel als Prophet). Die
Abschnitte ,,Thema,
,,Variationen und ,,Coda
entwickeln und verandern
das Hauptthema der
,,Papillons; dieses
dominiert uber weite
Strecken des Satzes und
wird mit den Motiven der
Ouverture kombiniert.
Vielfaltig gegliedert ist
das ,,Lyrische
Intermezzo. Zu Beginn
gewinnt ein Motiv aus den
,,Nachtstucken (fur
Klavier) Bedeutung,
taucht mehrere Male auf,
von mehrtonigen b-a-c-h
Clustern ,,gestort. Im
Mittelpunkt stehen das
Thema des 2. Satzes der
g-moll Klavier-Sonate op.
22 (ein Mondnachtlied
ohne Worte; Holzblaser)
und ein Adagio-Gedanke
aus dem Klavier-Zyklus
,,Kreisleriana (tiefe
Streicher); beide Themen
werden kontrapunktiert
von zwolftonigen
Strukturen und
Klangbandern
(Holzblaser). Die
,,Fruhlings-Symphonie-Fan
fare eroffnet das Finale.
Danach bilden sich uber
rotierenden Klangflachen
(Streicher) einzelne Tone
und Intervalle,
aleatorisch frei,
verdichten sich, wie aus
der Erinnerung
auftauchend, zu Motiven
aus Schumanns
bekanntester Symphonie.
Nach diesem zogernden
Beginn entwickelt sich
ein fast klassisch
anmutender
Sonaten-Durchfuhrungsteil
mit mehreren melodischen
Gedanken (Kopfmotiv der
g-moll Klaviersonate,
tanzerische und ostinate
Themen aus der
Fruhlings-Symphonie), die
zum Teil in- und
ubereinander geschichtet
werden, bis auf dem
Hohepunkt des Satzes das
Schlussthema der
Klavierfantasie op. 17,
pathetisch-ironisch in
den Blechblasern
erklingt. Eine kurze
Reprise mit dem
Hauptgedanken fuhrt zur
Anfangsfanfare zuruck;
der Satz verklingt im
pianissimo. Wollte man
dem ganzen opus ein Motto
voranstellen, dann die
Schumann-Uberschrift (aus
den Kinderszenen) :
,,Fast zu ernst - aber
eben nur ,,fast. (Jurg
Baur)CD:Sinfonieorchester
des Bayerischen
Rundfunks, cond.
Hanns-Martin SchneidtCD
Thorofon CTH 2270
Bibliography:Wallerang,
Lars: Die Orchesterwerke
Jurg Baurs als Dialog
zwischen Tradition und
Moderne, Koln: Dohr
2003.Nonnenmann, Rainer:
Vergegenwartigungen.
Umgang mit historischem
Material bei Zimmermann,
Baur, Killmayer, Schnebel
und Zender, in: Jurg
Baur, hrsg. von Ulrich
Tadday (= Musik-Konzepte.
Neue Folge, Heft
184/185), Munchen:
Edition Text+Kritik 2019,
S. 26-46.
Orchestra (2(picc).2.2.2.
- 4.3.3.1. - timp.perc(4)
- hp - str)
SKU:
BR.PB-4850-07
Music (based on G.
Ungaretti) in memoriam B.
A. Zimmermann.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Aachen, June 2,
1971
Music post-1945.
Study Score. Composed
1971. 84 pages. Duration
17'. Breitkopf and
Haertel #PB 4850-07.
Published by Breitkopf
and Haertel
(BR.PB-4850-07).
ISBN
9790004206485. 6.5 x 9
inches.
Dieses
vierteilige Opus ist
keine avantgardistische
Musik, sondern fur den
Normalhorer gedacht,
obwohl darin verschiedene
moderne
Kompositionstechniken
verwendet werden. Die
vier Satze des Werkes
sind Impressionen uber
Gedichte des grossen
italienischen Lyrikers G.
Ungaretti, der 1970
82jahrig starb. Giorno
per giorno (Tag fur Tag)
ist der Titel des Zyklus
auf den Tod eines seiner
Kinder - in der Musik fur
Orchester zugleich die
Uberschrift fur das ganze
Werk und den ersten Satz
- und bedeutet
inhaltlich: Schmerz ohne
Trostung und ohne Ausweg
( es hat irgendeine
Trostung notwendig, mein
armes zerfallenes Herz).
Auch die anderen
Satzbezeichnungen stehen
uber einzelnen Gedichten
oder Gedichtgruppen von
Ungaretti; so ist der
zweite Satz uberschrieben
Allegria di naufragi
(Freude der
Schiffbruche). Das Wagnis
dieser Schiffbruche wird
musikalisch durch
aleatorische Strukturen
symbolisiert (Und auf
einmal nimmst du die
Fahrt wieder auf). Der
dritte Satz tragt die
Uberschrift La terra
promessa (Das verheissene
Land'. Die Stille einer
mediterranen
Herbstlandschaft klingt
an (Die Traube ist reif,
das Feld ist bestellt).
Das Finale mit dem Titel
Soldati beginnt mit einer
falschen Fanfare und
steigert sich nach
mehreren unruhigen
Episoden zu einem
aggressiven Schlussteil
(Den Tod busst man lebend
ab).(Jurg Baur).
SKU: BA.BA10419-40 Composed by Antonin Dvorak. Edited by Jonathan Del Mar...(+)
SKU: BA.BA10419-40
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar.
Stapled. Critical
commentary. Opus 95. 55
pages. Baerenreiter
Verlag #BA10419_40.
Published by Baerenreiter
Verlag (BA.BA10419-40).
ISBN 9790006564798. 24
x 17 cm inches. Key: E
minor.
This
separately published
Critical Commentary
offers extensive
information on the
genesis, reception,
sources, and readings of
the works included in the
music volume.
(score). Composed by Robert Schumann. Edited by Peter Jost. For orchestra (2.2.2...(+)
(score). Composed by
Robert Schumann. Edited
by Peter Jost. For
orchestra (2.2.2.2. -
2.2.3.0. - timpani -
strings). This edition:
urtext.
Partitur-Bibliothek
(Score Library). Score.
Opus 52. 72 pages.
Duration 17 minutes.
Published by Breitkopf
and Haertel
French Horn; Orchestra (Study Score) SKU: HL.51487253 Hornkonzert Nr. ...(+)
French Horn; Orchestra
(Study Score)
SKU:
HL.51487253
Hornkonzert Nr. 1
Es-Dur Opus 11 Study
Score. Composed by
Richard Strauss. Edited
by Peter Damm. Henle
Study Scores. Classical.
Softcover. 83 pages. G.
Henle #HN7253. Published
by G. Henle
(HL.51487253).
UPC:
840126933048.
6.75x9.5x0.245
inches.
With his
first horn concerto, the
merely eighteen-year-old
Richard Strauss succeeded
in producing a
captivating masterstroke.
To this day, the concerto
is beloved throughout the
world (not only) by horn
players, and together
with Mozart's
masterworks, numbers
among the essential
pieces in the
instrument's repertoire.
Peter Damm, former
principal horn for the
Staatskapelle Dresden and
world-class soloist, has
not only performed the
concerto publicly over
170 times himself, but
has also presented
pivotal research findings
and publications on its
genesis. Prepared after
reviewing all surviving
sources, the Urtext
edition he has edited may
thus been regarded as the
edition of reference. The
orchestral score,
available in a practical
study edition, eliminates
innumerable errors from
the first edition.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Baritone; Orchestra (Study Score) SKU: HL.49045995 Chinese Songs Barit...(+)
Baritone; Orchestra
(Study Score)
SKU:
HL.49045995
Chinese Songs Baritone
and Orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score.
Chinese, Classical,
Symphony. Softcover.
Composed 2008/2017. 72
pages. Duration 1080
seconds. Schott Music
#ED22970. Published by
Schott Music
(HL.49045995).
ISBN
9790001203692. UPC:
842819100195.
8.25x11.75x0.184 inches.
German.
The history
of the symphony is full
of curiosities, ranging
from works that are
extremely long or scored
for extensive
instrumental forces to
those of dubious
authorship. There are
also famous symphonies
labelled as No. 0, works
with alternate or
multiple opus numbers,
and a wealth of
'unfinished' symphonies.
Krzysztof Pendereckis 6.
Sinfonie can also be
included in this
category, since his
Seventh and Eighth were
completed decades ago.
This work is comprised of
eight songs on Chinese
texts connected by solo
intermezzos played on the
Chinese stringed
instrument,erhu. As in
his two preceding works,
the focus here is on
vowels. This work,
however, is scored for
smaller orchestral forces
and possesses a more
intimate chamber music
character, at times with
greater melancholy than
before. Penderecki has
declared this symphony to
be his farewell from the
genre, although we know
from experience that
anything is possible with
symphonies.
(In der Continuo-Gruppe sind 2 Cembali besetzt). Composed by George Frideric Han...(+)
(In der Continuo-Gruppe
sind 2 Cembali besetzt).
Composed by George
Frideric Handel
(1685-1759). Edited by
Frederik Hudson. For
orchestra. This edition:
Urtext edition. Stapled.
Score. Opus 3/1, HWV 312.
22 pages. Duration 10
minutes. Published by
Baerenreiter Verlag
By George Frideric Handel (1685-1759). Edited by Adolf Hoffmann; Hans Ferdinand ...(+)
By George Frideric Handel
(1685-1759). Edited by
Adolf Hoffmann; Hans
Ferdinand Redlich. For
orchestra. This edition:
Stapled, Urtext edition
edition. Stapled.
Barenreiter Study scores.
Urtext der
Hallischen-Handel-Ausgabe
. Study score. Opus 6/10,
HWV 328 Study Score /
Miniature
Composed by Ludwig van Beethoven (1770-1827). Edited by Lewis Lockwood, Marti...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Lewis Lockwood,
Martina Rebmann, and
Jonathan Del Mar. This
edition: facsimile. Half-
leather binding.
Documenta
musicologica II/42 /
Barenreiter Facsimile.
Facsimile. Opus 125, No.
9.
476 pages. Baerenreiter
Verlag #BVK02471.
Published
by Baerenreiter Verlag
Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. This...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Jonathan Del Mar. This
edition: urtext edition.
Stapled. Score. Opus 62.
Baerenreiter Verlag
#BA11904.
Published by Baerenreiter
Verlag
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Version of 1851 - Urtext. Composed by Robert Schumann. Edited by Joachim ...(+)
Version of 1851 -
Urtext. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Symphony.
Orchester-Bibliothek
(Orchestral Library). The
5 study scores of the
symphonies (incl. early
version of the 4 th
symphony) in slipcase are
temporarily out of print.
The single editions are,
however, still available.
Romantic. Double bass
part. Breitkopf and
Haertel #OB 5264-27.
Published by Breitkopf
and Haertel
(BR.OB-5264-27).
0.48
Composed by Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. This edition...(+)
Composed by Antonin
Dvorak (1841-1904).
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Set of
winds. Opus 70, No. 7.
220 pages. Duration 38
minutes. Published by
Baerenreiter Verlag
(BA.BA10417-65).