By Edwin E. Gordon. Band Method. Instructional Sacred. Text language: English. 48 pages

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. 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.

Piano Adventures®. Faber Piano Adventures®. Method. Softcover. Faber Piano Adventures #FF3057. Published by Faber Piano Adventures

SATB vocal soli, SATB choir, flute, 3 oboes, horn, 2 violins, viola, basso continuo

SKU: CA.3102612

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 Schneidt. Henle Music Folios. Classical. Softcover. 52 pages. G. Henle #HN1573. Published by G. Henle

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

Orchestra; Violin

SKU: UT.NAP-4

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.

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

ST(T)B vocal soli, SATB choir, oboe, 2 violins, basso continuo - Level 3

SKU: CA.4091119

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 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 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

2 violins, viola, cello (Violins (2), Viola, Violoncello)

SKU: BA.BA06857

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 Letters”, 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 Letters”: 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 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. 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.

Violin 1 (solo: vc - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-5283-15

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.

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

(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-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-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.