Par BACH JOHANN SEBASTIAN. J. S. Bach ’s Four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach ’s extremely productive time in Cöthen which ended in 1721. Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the “New Bach Edition”. At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter’s new edition of Bach’s great four suites nowpresents the Urtext as found in the “New Bach Edition” i. e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a “Violino concertato” part. - Urtext editions of these important works. - Newly engraved parts and fully realized continuo. - For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with “ Violino concertato ” is included. - Full scores, study scores and performance material available for sale./ Répertoire / Partition de Poche

Dramma giocoso (Opera) in two acts. Par MOZART WOLFGANG AMADEUS. In early 1787 Mozart made his first visit to Prague, where he attended a performance of Le nozze di Figaro on 17 January and conducted the performance five days later. Thoroughly impressed by the huge success of his opera and the personal triumphs he had enjoyed during his visit, he and his wife left the city on 7 February, but not before he had concluded a contract to write a new opera for the next season. This contract, signed with Pasquale Bondini, the director of Count Nostitz’s National Theater, led to the composition of his first opera for Prague, Don Giovanni (K. 527). Ever since its première on 29 October 1787, the opera has moved audiences over andover again and has occupied a special position in Mozart’s rich and variegated output for the stage. Urtext of the New Mozart Edition Full score (BA4550-01), vocal score (BA4550-90), study score format 22. 5 x 16. 5cm (TP279) available for sale Performance material (BA4550-72) available for hire/ Répertoire / Partition de Poche

Par BACH JOHANN SEBASTIAN. J. S. Bach ’s Four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach ’s extremely productive time in Cöthen which ended in 1721. Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the “New Bach Edition”. At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter’s new edition of Bach ’s great four suitesnow presents the Urtext as found in the “New Bach Edition” i. e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a “Violino concertato” part. - Urtext editions of these important works. - Newly engraved parts and fully realized continuo. - For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with “Violino concertato” is included. - Full scores, study scores and performance material available for sale./ Répertoire / Partition de Poche

Par ROSSINI GIOACHINO. This study score is based on the critical edition of “ The Barber Of Seville ” edited by Patricia B. Brauner and published in 2008 as part of the series “Works of Gioachino Rossini”. But who needs a new critical edition of “ The Barber Of Seville ”? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly, none of the early editions satisfy modern demands for a scholarly-critical edition. Secondly, there is a wealth of previously unpublished material relating to this opera, of great interest to both scholars andperformers. Thus the famous overture, which Rossini had already used in his earlier opera “Aureliano in Palmira”, differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in “Aureliano in Palmira”), which includes two Flutes, two Oboes and Timpani, or in the scoring for the subsequent opera “ The Barber Of Seville ” (with just one flute, one oboe and no timpani). A series of appendices contain music and information which have been included in no other edition of the opera to date. - Takes into account all original sources, also including five manuscripts with Rossini’s autograph ornamentation. - Takes into consideration the full extent of Rossini ’s personal notational characteristics. - With a detailed foreword (Eng/Ital)/ Répertoire / Partition de Poche

Par BACH JOHANN SEBASTIAN. Study score format 22. 5 x 16. 5cm Bach ’s Christmas Oratorio, composed in 1734, narrates the story of the birth of Jesus in a cycle of six cantatas with a text probably by Christian Friedrich Henrici (known as Picander) who provided several libretti for Bach during his Leipzig period. Like the St. Matthew and St. John Passions, the Christmas Oratorio is narrated by an Evangelist and includes devices from Italian opera such as the recitative and aria. It was written to be performed during the thirteen days of Christmas of the Lutheran Church calendar (25 December – 6 January) allowing the wondrous story of theGospel to gradually unfold. - Full score and performance material (BA5014), vocal score (BA5014-90) and study score (TP85) available for sale. - Urtext of the New Bach Edition. / Oratorio / Répertoire / Partition de Poche

Par HAENDEL GEORG FRIEDRICH. The publication of the new Urtext edition of Water Music makes the work available in a revised edition reflecting the latest research findings. In October 2004, the editor Terence Best found the oldest surviving manuscript score in the archives of the Royal Society of Musicians in London – primary source A, which can be dated to 1718. This discovery demands a dramatic reappraisal of what is probably Handel ’s most famous work. Until this find, the theory formulated by Barrett Lennard in 1950 was regarded as authoritative. He divided the material into three suites according to key and instrumentation. This was based on the fact that some ofthe material in the Water Music is the same as in the Concerto HWV 331. With the help of the latest technology, it has now been possible to date this Concerto to 1722. By doing this, the rationale for dividing the music into three suites has been removed. The newly found primary source A places the movements in a richly varied sequence of keys and instrumentations which offers a great range of colours than the previous arrangement. Based on new sources, editor Terence Best has been able to reconstruct the original order of the suites and correct many points left open or unclarified in earlier publications. - New critical edition based on new sources. - Detailed Prefaces (Ger/Eng). - Urtext of the “Halle Handel Edition”/ Répertoire / Partition de Poche

for Violin and Orchestra. Par MOZART WOLFGANG AMADEUS. Mozart composed the majority of his works for solo String Instruments and Orchestra during the years 1773–1779. Especially important are the years 1773 and 1775, which witnessed the creation of the five concertos for Violin and Orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity are partly that Mozart, who still occupied the post of concertmaster to the Prince-Archbishop, was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting with all the new compositional techniques acquiredduring his third trip to Italy and his stay of several months in Vienna from July to September 1773. Urtext of the New Mozart Edition. Full score and performance material (BA4712), Violin and Piano reduction (BA4712-90) and study score format 22. 5 x 16. 5cm (TP20) available for sale. The new Urtext performing editions to Mozart ’s Violin concertos nos. 1-5 contain new easy to play Piano reductions. They offer in addition to the Urtext solo Violin part, an extra Violin part prepared with bowings and fingerings by M. Wulfhorst. A brochure with cadenzas, lead-ins and fermata embellishments by Joseph Joachim, Sam Franko, Leopold Auer, Eugène Ysaye and Martin Wulfhorst is also included./ Répertoire / Partition de Poche

Cantata for the 14th Sunday after Trinity. Par BACH JOHANN SEBASTIAN. Jesu, der du meine Seele BWV 78 (Jesu, by Thy Cross and Passion) Cantata for the 14th Sunday after Trinity The cantata Jesu, der du meine Seele is one of the famous cycle of chorale cantatas which Bach wrote during the second year of his Leipzig appointment. It was probably performed for the first time on 10 September 1724, the fourteenth Sunday after Trinity, in one of the principal Leipzig churches. The text is based on Johann Rist’s at that time widely known hymn of 1641. As in most of the cantatas of this cycle, the corner-stones are provided by the first and last verses, which appear in an unaltered form; whereas the middle verses were freelyremodelled as arias and recitatives. Urtext of the New Bach Edition Performance material (BA10078), vocal score (BA10078-90) & study score format 22. 5 x 16. 5cm (TP1078) available for sale/ Répertoire / Partition de Poche

Par TCHAIKOVSKI PIOTR ILITCH. One of the finest examples of symphonic orchestration in the Romantic repertoire, Tchaikovsky's Symphony No. 5 appears here in full score, with bar-numbered movements and margins for notes and analysis./ Répertoire / Partition de Poche

Par BACH JOHANN SEBASTIAN. Jauchzet Gott In Allen Landen - Praise Ye God Throughout Creation BWV 51. Cantata for the 15th Sunday after Trinity. The solo cantata “Jauchzet Gott In Allen Landen”, written around 1730 for the 15th Sunday after Trinity, is one of Bach ’s best-known cantatas. The scoring for solo Soprano, Trumpet, Strings and Continuo is unique amongst Bach ’s cantatas and has parallels with Italian composers of the period. The enduring popularity of the work is due to the clear and succinct formal structure and not least to the virtuoso Trumpet part and Soprano arias, in which the soloists can demonstrate their total mastery. The cantata ispublished in a Vocal score based on the “New Bach Edition” with an idiomatic straightforward Piano reduction by Martin Focke. - Famous work with a festive instrumental sound. - Urtext based on the “New Bach Edition”. - Clear straightforward Piano reduction. - Study score (TP1051) performance material (BA10051) & Vocal score (BA10051-90) available for sale./ Répertoire / Partition de Poche

Par MENDELSSOHN-BARTHOLDY FELIX. The Hebrides Op. 26 Concert Overture The Hebrides, the third in Bärenreiter's series of critical editions of Mendelssohn's great overtures, is one of Mendelssohn Bartholdy's most performed compositions. Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s. The new Bärenreiter edition consist of two versions each containing additional material from further sources. Version one, the ; Rome version, exists itself in two versions and has never been published in a performing edition. Version two, the ; London version, also exists in two versions one of which was published by Mendelssohn in 1835. This pioneering edition documents the development of the composition and the various changes made by Mendelssohn. The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood/ Répertoire / Partition de Poche

a 6 et a 8. Par MOZART WOLFGANG AMADEUS. The Serenade in E-flat, K. 375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet. From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa. The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work's melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave. - Urtext of the New Mozart Edition - Parts sextet version (BA5333), octet version (BA5334) and study score both versions format 22. 5 x 16. 5cm (TP315) available for sale/ Répertoire / Partition de Poche

Par MOZART WOLFGANG AMADEUS. “I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a new path. [. . . ] I think it would be a good thing for me – provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him. ” Thus Mozart in a letter of 10–11 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meon any other terms, then let him try me with an opera. After that he can do what he likes for all I care. ” Urtext of the New Mozart Edition Full score (BA4591-01), vocal score (BA4591-90) and study score format 22. 5 x 16. 5cm (TP311) available for sale Performance material available for hire (BA4591-72)/ Répertoire / Partition de Poche

Par SCHUBERT FRANZ. This study score of Franz Schubert 's complete string trios (Violin, Viola and Violoncello) takes its text from the New Schubert Edition. It also includes Schubert 's very first essay in the genre, which only resurfaced in 1997: the draft trio in B-flat major, D 111A (1814). Besides this draft, two other trios in B-flat major written a short while later have come down to us: D 471 and D 581. The first is likewise a fragment as it breaks off in m. 39 of the second movement. D 581 survives in two versions, the first based on the autograph score, the second on a set of parts prepared and thoroughly revised by Schubert. Both versionsprovide useful performance alternatives that differ widely in their form, rhythm, articulation and dynamics. - All of Schubert 's string trios - All drafts and alternative versions for the first time in a study score - Urtext from the New Schubert Edition Contents: - Trio in B-flat major, D 471 (movement 1) - Trio in B-flat major, D 581 (versions 1 and 2) - Incomplete first movement to Trio in B-flat major, D 111A - Incomplete second movement to Trio in B-flat major, D 471/ Répertoire / Partition de Poche

Par BACH JOHANN SEBASTIAN. Wie Schön Leuchtet Der Morgenstern (How Bright And Fair The Morning Star) BWV 1. Cantata for the Feast of Annunciation Day. The cantata “ Wie Schön Leuchtet Der Morgenstern ” BWV 1 was written for 25 March 1725, when the Feast of the Annunciation of the Blessed Mary coincided with Palm Sunday. It forms the conclusion of Bach ’s cantata cycle of 1724/25. The anonymous librettist retained the outer verses 1 and 7 of Philipp Nicolai’s text (1599) which is assigned to the feast of Epiphany according to old tradition but was also sung at the Annunciation of the Blessed Mary. Verses 2 to 6 form the basis for the Tenor and Bassrecitatives and the Soprano and Tenor arias. Bach ’s composition has a particularly festive brilliance with his use of 2 Horns, 2 Oboes Da Caccia and the two concertante solo Violins. The Violins’ lively figurations clearly reflect an image of the shining morning star. - Urtext of the New Bach Edition. - Original German text with English singing translation. - Idiomatic and easy-to-play Piano reduction. - Performance material (BA10001), vocal score (BA10001-90) & study score (TP1001) available for sale./ Répertoire / Partition de Poche