Cello and Orchestra SKU: HL.14020990 Composed by Sir Peter Maxwell Davies...(+)
Cello and Orchestra
SKU: HL.14020990
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Score. Composed
1999. 80 pages. Chester
Music #CH58933. Published
by Chester Music
(HL.14020990).
ISBN
9780711923904.
5.5x7.5x0.283
inches.
If Davies's
Cello Concerto has
already evoked
comparisons with Elgar's,
that is perhaps an
indication not only of
its wealth of solo melody
(there is hardly a page
where the cello is not
singing, or if not that,
then dancing), and of its
predominantly slow
tempos, but also of its
musical stature. This
second Strathclyde
concerto is a virtuoso
piece for the entire
ensemble, which is used
almost throughout as a
clutch of soloists rather
than as a tutti block.
The general tone is one
of passionate but
interior dialogue,
especially in the opening
Moderato and the slow
movement; and though the
finale is more extrovert,
the work ends back in
quietness and
rumination.
Books and Journals SKU: UT.QC-2 Composed by Rohan H. Stewart-MacDonald. H...(+)
Books and Journals
SKU: UT.QC-2
Composed by Rohan H.
Stewart-MacDonald.
Hardback (Cloth Hard
Cover with Jacket).
Quaderni Clementiani.
Classical. Books and
Journals. Ut Orpheus #QC
2. Published by Ut
Orpheus (UT.QC-2).
ISBN 9788881094585.
6.5 x 9.5
inches.
The career
of Muzio Clementi
(1752-1832) spanned the
lives of both Mozart and
Beethoven and was
exceptionally diverse. It
encompassed performing on
the keyboard, conducting,
teaching, business
activities and
composition in the realms
of keyboard, chamber and
orchestral music. This
book focuses on
Clementi’s keyboard
sonatas and aims to shed
new light on their
relationship with the
complex cross-currents of
late eighteenth-century
musical style, both in
England, where Clementi
was active for much of
his career, and the
continent, which he
visited
periodically. The
first chapter summarises
Clementi’s
historical reputation as
it developed in the
nineteenth and twentieth
centuries, and evaluates
the impact on it of the
significant developments
in Clementi scholarship
since 2000. The aim is to
stress the deficiencies
of the established view
of Clementi as a keyboard
pedagogue and to stress
the importance of
liberating him as much as
possible from this
ingrained perception.
This is attempted, in the
remaining chapters,
through close, analytical
readings of a variety of
keyboard sonatas from all
stages of his career,
comparing them with a
range of works by Haydn,
Mozart, Beethoven and
other contemporaries such
as Jan Ladislav Dussek
(1760-1812). The
comparisons are made from
the perspectives of
distinguishing features
of Clementi’s style
such as his unusually
intense deployment of
strict counterpoint in
the later keyboard
sonatas; his cultivation
of irregularity in
recapitulations; his use
of the
‘three-key’
exposition in the
middle-to-later stages of
his career that seems to
anticipate
nineteenth-century
developments, and also
his assimilation of
heightened virtuosity
into the earlier sonatas,
often in the form of
cadenzas more suggestive
of the keyboard concerto
a genre Clementi
seems, rather strangely,
to have neglected. The
book has been envisaged
as a direct response, not
only to the most recent
scholarship on Clementi,
but also to current
approaches to
eighteenth-century music
in general, including the
interdisciplinary work of
Annette Richards.
Cantata
for 24th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Till
Reininghaus. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Ach wie fluchtig, ach wie
nichtig. Sacred vocal
music, End of the church
year, Mourning, death.
Single Part, Violin 2.
Composed 1724. BWV 26. 4
pages. Duration 17
minutes. Carus Verlag #CV
31.026/12. Published by
Carus Verlag
(CA.3102612).
ISBN
9790007205270. Language:
German/English.
Bac
h's cantata BWV 26
belongs to the Leipzig
cycle of chorale
cantatas, 1724/25, and it
was first performed on 19
November 1724. The
underlying 13-vers hymn
by Michael Franck
provided Bach and his
unidentified librettist
with an abundance of
metaphors and comparisons
which, from verse to
verse and movement to
movement, illustrate the
fleeting and transitory
nature of earthly life:
an impressive
musical-poetic exposition
of potent baroque
pictures of vanity..
Score and part available
separately - see item
CA.3102600.
Piano Studies. Composed by Franz Liszt (1811-1886). Edited by Michael Schnei...(+)
Piano Studies. Composed
by
Franz Liszt (1811-1886).
Edited by Michael
Schneidt.
Henle Music Folios.
Classical.
Softcover. 52 pages. G.
Henle
#HN1573. Published by G.
Henle
Cantata for Whitsunday
- Urtext. Composed by
Johann Kuhnau. Edited by
Erler. David. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
Cantata; Baroque;
Renaissance/early
Baroque. Sheet Music. 4
pages. Duration 12'.
Breitkopf and Haertel #OB
32090-15. Published by
Breitkopf and Haertel
(BR.OB-32090-15).
ISBN
9790004350409. 10 x 12.5
inches.
The cantata
Daran erkennen wir, dass
wir in Ihm bleiben is
intended for the first
Whitsun holiday. It is
based on a text by Johann
Christoph Wentzel
(1659-1723), the yearly
volume in which it
appears dates to August
4, 1703 and is dedicated
to, among others, Hn.
Joh. Kuhnau / | Chori
Musici bey der | Stadt
Leipzig Directori [Herr
Joh. Kuhnau / Director of
Choral Music at the City
of Leipzig]. It can be
assumed that Kuhnau's
composition originated
near the time of the
text, thus within his
first years in office as
the Leipzig St. Thomas
cantor. Kuhnau follows
the structure of
Wentzel's poem in a
Dictum and four verses
with introductory sonata,
although some details are
varied. In comparison to
other works by Kuhnau,
the scoring is fairly
large with five vocal
parts, trumpets, timpani,
oboes, and bassoon as
well as two violins and
violas each. The short
performing time, on the
other hand, makes the
cantata suitable for
liturgical use, too.Audio
samples: Opella Musica,
camerata lipsiensis,
cond. Gregor Meyer (cpo,
2013).
Set of Parts String Quartet SKU: HL.48024698 1993 Peter Bartok revisio...(+)
Set of Parts String
Quartet
SKU:
HL.48024698
1993
Peter Bartok revision Set
of Parts. Composed by
Bela Bartok. Arranged by
Peter Bartok. Boosey &
Hawkes Chamber Music.
Classical. Softcover.
Universal Edition
#UE9598. Published by
Universal Edition
(HL.48024698).
ISBN
9783702412074. UPC:
803452059837.
This
revised edition was
prepared after comparison
of all manuscript sources
that could be found with
the last printed edition.
The sources included the
first sketch, two full
score manuscripts (one
partly by a copyist, a
photocopy of the former,
with autograph changes
and last page, used for
engraving the first
edition) and a copyist's
copy of the parts, with
additions in the
composer's hand. The
previous edition
contained very few
errors. The corrections
concern mostly a few
dynamics, beaming,
precision in dynamic or
tempo changes, etc. (P.
Bartok).
Chorus a cappella SKU: BR.CHB-5239-02 Schnell fliehen die Schatten der...(+)
Chorus a cappella
SKU:
BR.CHB-5239-02
Schnell fliehen die
Schatten der Nacht -
Urtext. Composed by
Fanny Cecile Mendelssohn.
Choir. Chor-Bibliothek
(Choral Library). Song;
Romantic. Choral score. 4
pages. Breitkopf and
Haertel #ChB 5239-02.
Published by Breitkopf
and Haertel
(BR.CHB-5239-02).
ISBN
9790004411568. 7.5 x 10.5
inches.
German.
Fanny
Hensel's choral works not
only stand up to
comparison with any of
the rich and varied
choral works of the
Romantic era - they also
rank among the best. Very
likely to become hits!
(Musica).
3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849)...(+)
3 Etudes pour la Methode
des
Methodes. Composed by
Frederic Chopin
(1810-1849).
Piano (Solo). The
Complete
Chopin - A New Critical
Edition. Score. Edition
Peters #EP73229.
Published
by Edition Peters
Vol. 1.
Critical Edition.
Composed by Nicola
Fiorenza. Edited by
Giovanni Borrelli.
Hardback (Cloth Hard
Cover). Napoli e
l’Europa (Naples
and Europe). Classical.
Critical commentary. Ut
Orpheus #NAP 4. Published
by Ut Orpheus (UT.NAP-4).
ISBN 9790215318373. 9
x 12
inches.
Concerto
in Mi bem. magg. per
Violino principale, 2
Violini, Viola e Basso;
Concerto in Re min. per 2
Violini e Basso (1728);
Concerto in La magg. per
3 Violini e Basso
(1728)_x0008_; Concerto
in La min. per 3 Violini
e Basso (1727)_x0008_;
Concerto in La min. per 3
Violini e Basso; Sinfonia
in Fa min. a 2 Violini e
Basso; Sinfonia in Sol
magg. a 3 Violini e
Basso; Sinfonia fugata in
Fa min. a 3 Violini e
Basso; Sinfonia in Do
min. a 4 Violini e Basso;
Trio in Si min. per 2
Violini e
Cembalo
Nicola
Fiorenza (1700?-1764),
composer and virtuoso
Neapolitan violinist,
lived during the first
half of the 1700s. His
musical production, whose
manuscripts are preserved
for the big part in the
Library of the
Conservatorio di Musica
S. Pietro a Majella in
Naples, is composed of 15
concerts with different
instrumental organics, 9
symphonies whose
principal instrument is
the violin – that
sometimes proposes pieces
with a lot of
virtuosities typical of
the solo concert
–, some pieces for
one or two instruments
with continuo and two
cantatas. Skilled
virtuoso, Fiorenza had
assimilated both the
style of the elegant
Baroque of French school,
and the a terrazze style,
the improvised language
typical of the Venetian
composers. He knew the
style of the Concerto
Grosso of Corelli very
well, to which he joined
a dressy counterpoint
maybe too much present
for the style of that
time. Fiorenza elaborated
different styles,
filtering them through
his sensitive
predilection towards the
Neapolitan party music
and the popular melody,
developing a personal
composite language that
doesn’t consider
him belonging to one of
the schools of his time.
From a formal point of
view and for the choice
of the instrumental
organic, his compositions
have not a strong
stylistic individuality
in comparison with the
composite canons of the
first part of the XVIII
century, but the
production of Fiorenza
seems to reflect the
schemes and the composite
forms typical of the late
Baroque. His choice of
the incisive brevity of
the thematic figures is
typical of the XVII
century, that almost
never overcomes the
breath and the circle of
one or few beats.
Fiorenza’s solo
compositions show his
research of virtuosities,
but he never lapses into
a rash virtuosity, on the
contrary he maintains a
gallant taste.
Canto Serioso Clarinette Basse, Piano Alea Publishing
Composed by Carl August Nielsen (1865-1931). Arranged by Michael and Kimberly Da...(+)
Composed by Carl August
Nielsen (1865-1931).
Arranged by Michael and
Kimberly Davenport. For
bass clarinet and piano.
Classical; 20th century.
Piano score and part. 4
pages (score); 2 pages
(part). Published by Alea
Publishing
Anthem. Composed
by George Frideric
Handel. German title: O
praise the Lord. Sacred
vocal music, Cantatas,
Praise and thanks. Set of
Orchestra Parts. HWV 254.
Duration 25 minutes.
Carus Verlag #CV
40.911/19. Published by
Carus Verlag
(CA.4091119).
ISBN
9790007138233. Language:
German/English.
As
in many of his other
works, Handel drew upon
earlier compositions of
his own for O praise the
Lord with one consent.
The arias in this anthem
are brief and
straightforward by
comparison with the arias
in Handel's Italian
operas. Score and parts
available separately -
see item CA.4091100.
Violin & orchestra SKU: HH.HH052-IPT Composed by Antonio Vivaldi. Edited ...(+)
Violin & orchestra
SKU: HH.HH052-IPT
Composed by Antonio
Vivaldi. Edited by
Rebecca Kan. Violin &
Orchestra. Set of parts.
Edition HH Music
Publishers #HH052-IPT.
Published by Edition HH
Music Publishers
(HH.HH052-IPT).
ISBN
9790708041030.
This
critical edition sheds
light on the special
qualities linking RV 198
(here published for the
first time) to the
musicians of the Saxon
court, and offers the
first detailed comparison
between two versions of
the concerto. Passages of
brilliant figuration and
finely spun diminutions
characterize the solo
episodes in the fast
movements. An alternative
Adagio is included in
each of the various
formats (scores, keyboard
reduction and parts).
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim...(+)
Rhenish Symphony -
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 4th
symphony) in slipcase are
temporarily out of print.
The single editions are,
however, still available.
Romantic. Violoncello
part. Breitkopf and
Haertel #OB 5263-23.
Published by Breitkopf
and Haertel
(BR.OB-5263-23).
0.48
Composed
by Leos Janacek. Edited
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek E/4.
Complete edition, Score,
Set of parts. Composed
1928. No. 2. Duration 26
minutes. Baerenreiter
Verlag #BA06857_00.
Published by Baerenreiter
Verlag (BA.BA06857).
ISBN 9790260100503.
34.3 x 27 cm
inches.
Janácek
€™s 2nd String
Quartet, “Intimate
Lettersâ€, is
regarded as a highlight
of the modern string
quartet literature. It
was written during the
composer’s last
year of life, between 29
January and 19 February
1928, inspired by the
ageing
Janácek’s
exceptional love for
Kamila Stösslová.
The Moravian Quartet
devoted themselves to
this impressive work;
Janácek attended a
total of three of their
rehearsals in May and
June 1928. This had
several consequences,
including his abandoning
his original idea of
using a viola
d’amore.
Af
ter Janácek’s
unexpected death (12
August 1928) the
uncertain genesis of the
work became the greatest
problem of the
“Intimate
Lettersâ€: the
surviving copies were not
definitively
authorised.
The
editors of this new
edition have reverted to
Janácek’s
autograph sketches as the
main, most reliable
source and using these as
a basis, have
reconstructed the work as
it stood at the point of
Janácek’s
death.
The musical
text therefore contains
clear differences in
comparison with older
editions.
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
Chorus a cappella SKU: BR.CHB-5304-02 Composed by Fanny Cecile Mendelssoh...(+)
Chorus a cappella
SKU:
BR.CHB-5304-02
Composed by Fanny Cecile
Mendelssohn. Edited by
Joachim Draheim. Choir;
stapled. Chor-Bibliothek
(Choral Library). Song;
Romantic. Choral score. 8
pages. Breitkopf and
Haertel #ChB 5304-02.
Published by Breitkopf
and Haertel
(BR.CHB-5304-02).
ISBN
9790004412206. 7.5 x 10.5
inches.
German.
These two
quartets (ChB 5303 /
5304) have been drawn
from the recently
rediscovered Travel Album
which Fanny Hensel and
her husband Wilhelm
Hensel kept on their
lengthy journey to Italy
in 1839/40. The little
vocal works can be
performed by a chorus as
well as by soloists. They
are being published here
for the first time.Fanny
Hensel's choral works not
only stand up to
comparison with any of
the rich and varied
choral works of the
Romantic era - they also
rank among the best. Very
likely to become hits!
(Musica).
SKU: BA.BVK02442 Founding Phases in International Comparison. Edit...(+)
SKU: BA.BVK02442
Founding Phases in
International
Comparison. Edited by
Melanie Wald-Fuhrmann and
Stefan Keym. Hardback.
Spektrum Fachgeschichte
Musikwissenschaft.
Coproduction
Barenreiter/Metzler.
Book. 240 pages.
Baerenreiter Verlag
#BVK02442_00. Published
by Baerenreiter Verlag
(BA.BVK02442).
ISBN
9783761824429. 24.5 x 18
cm inches. Text Language:
German, English. Preface:
Wald-Fuhrmann, Melanie /
Keym, Stefan.
Urtext. Composed
by Robert Schumann.
Edited by Joachim
Draheim. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). A
key work of the romantic
concerto repertoirePiano
reduction annotated by
Robert Schumann. Solo
concerto; Romantic. Part.
12 pages. Duration 23'.
Breitkopf and Haertel #OB
5283-15. Published by
Breitkopf and Haertel
(BR.OB-5283-15).
ISBN
9790004332832. 10 x 12.5
inches.
Robert
Schumann's Violoncello
Concerto op. 129 can be
regarded as the first
great concerto for this
instrument's repertoire.
It is thus somewhat
surprising that this work
had an extremely
problematic reception
history at the
outset.Schumann wrote the
score in 1850, during his
Dusseldorf years, but
there was neither a
concrete occasion nor a
soloist for a world
premiere. After its
publication, more years
elapsed before the world
premiere. It was only
towards the end of the
19th century that
Schumann's Cello Concerto
finally made its
breakthrough as a
repertoire piece. The
Urtext edition is based
on the original print of
the parts and the piano
reduction, which had
still been supervised by
Schumann. In addition,
the autograph of the
score was consulted for
purposes of comparison.
The internationally
renowned soloist Heinrich
Schiff took part in the
preparation of the
edition for violoncello
and piano. His
experiences have been
incorporated into his
arrangement of the solo
part. With his comments,
Schiff also provides
valuable tips on the
interpretation of the
work.
A key work
of the romantic concerto
repertoireThe piano
reduction by Robert
Schumann contains the
unsigned solo part as
well as the solo part
arranged and annotated by
Heinrich Schiff.
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler (1860-19...(+)
Final Version 1906 -
Textcritical Edition.
Composed by Gustav Mahler
(1860-1911). Edited by
Christian Rudolf Riedel.
Additional part.
Breitkopf
and Haertel #OB 5633-23.
Published by Breitkopf
and
Haertel
High voice, piano SKU: BA.BA11081 Eleven Lieder on texts by Friedrich ...(+)
High voice, piano
SKU:
BA.BA11081
Eleven
Lieder on texts by
Friedrich Schlegel for
high voice and piano.
Composed by Manfred
Trojahn. Stapled. Singing
Score. Composed 2012. 28
pages. Duration 12 hours.
Baerenreiter Verlag
#BA11081_00. Published by
Baerenreiter Verlag
(BA.BA11081).
ISBN
9790006563678. 29.8 x
20.8 cm inches. Language:
German. Text: Schlegel,
Friedrich.
With
their very accessible
style and expressive
interpretation of the
words, these contemporary
works continue in the
tradition of classical
and romantic song cycles
and will form a form a
welcome addition to every
song recital.
Abendröte is a cycle
that brooks comparison
with the songs Schubert
wrote on the same set of
Schlegel poems: Trojahn
has composed the poems
Schubert chose not to
set.
3 Ragtimes Violon et Piano [Partition] - Intermédiaire Schott
(for Violin and Piano). By Scott Joplin (1868-1917). Arranged by Wolfgang Birtel...(+)
(for Violin and Piano).
By Scott Joplin
(1868-1917). Arranged by
Wolfgang Birtel. For
Violin, Piano
Accompaniment. String.
Softcover. 18 pages.
Schott Music #ED20458.
Published by Schott Music
Violin 2 (solo: A - choir: boys ch - fem ch - 4(2picc).4(cor ang).5(2Eb-clar.B-c...(+)
Violin 2 (solo: A -
choir: boys ch - fem ch -
4(2picc).4(cor
ang).5(2Eb-clar.B-clar).4
(dbn) - 8.4(posthn).4.1 -
2hp.2timp.perc(6) - str)
SKU: BR.OB-5633-16
Final Version 1906 -
Textcritical Edition.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Part. 32 pages. Duration
110'. Breitkopf and
Haertel #OB 5633-16.
Published by Breitkopf
and Haertel
(BR.OB-5633-16).
ISBN
9790004347911. 10.5 x 14
inches.
The first
textcritical edition of
Mahler's most extensive
work is a further
milestone in the project,
Mahler - The Symphonies.
The many sources first
consulted here for an
edition include, among
others, the conducting
scores used for early
performances by Mahler,
Mengelberg and other
conductors, as well as
the parts of the Vienna
Philharmonic used by
Mahler, Bruno Walter and
many additional great
conductors right up to
the present. Furthermore,
another set of parts from
Mahler's personal
possession was consulted.
These sources,
significantly expanding
the source base in
comparison with that of
the 1974 Kritische
Gesamtausgabe, guarantee
a reliable, scholarly
valid music text,
shedding at the same time
new light on Mahler's
complex process of
revision. In
unprecedented
comprehensiveness, the
editorial report contains
references from Mahler's
letters and other
authentic documents
indispensable for an
understanding of the work
and its interpretation.
The orchestral parts
feature as usual optimal
readability and
practicality. Rounding
off the edition is the
introductory essay Mahler
as Symphonist, together
with the knowledgeable
preface by Constantin
Floros, doyen of Mahler
research.
Violin 1 (solo: A - choir: boys ch - fem ch - 4(2picc).4(cor ang).5(2Eb-clar.B-c...(+)
Violin 1 (solo: A -
choir: boys ch - fem ch -
4(2picc).4(cor
ang).5(2Eb-clar.B-clar).4
(dbn) - 8.4(posthn).4.1 -
2hp.2timp.perc(6) - str)
SKU: BR.OB-5633-15
Final Version 1906 -
Textcritical Edition.
Composed by Gustav
Mahler. Edited by
Christian Rudolf Riedel.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Late-romantic.
Part. 40 pages. Duration
110'. Breitkopf and
Haertel #OB 5633-15.
Published by Breitkopf
and Haertel
(BR.OB-5633-15).
ISBN
9790004347904. 10.5 x 14
inches.
The first
textcritical edition of
Mahler's most extensive
work is a further
milestone in the project,
Mahler - The Symphonies.
The many sources first
consulted here for an
edition include, among
others, the conducting
scores used for early
performances by Mahler,
Mengelberg and other
conductors, as well as
the parts of the Vienna
Philharmonic used by
Mahler, Bruno Walter and
many additional great
conductors right up to
the present. Furthermore,
another set of parts from
Mahler's personal
possession was consulted.
These sources,
significantly expanding
the source base in
comparison with that of
the 1974 Kritische
Gesamtausgabe, guarantee
a reliable, scholarly
valid music text,
shedding at the same time
new light on Mahler's
complex process of
revision. In
unprecedented
comprehensiveness, the
editorial report contains
references from Mahler's
letters and other
authentic documents
indispensable for an
understanding of the work
and its interpretation.
The orchestral parts
feature as usual optimal
readability and
practicality. Rounding
off the edition is the
introductory essay Mahler
as Symphonist, together
with the knowledgeable
preface by Constantin
Floros, doyen of Mahler
research.