Motetten fur 5
Stimmen. Composed by
Orlande De Lassus. Edited
by Bernhold Schmid.
Softbound. Complete
Works. Vocal Music
Between Genres.
Renaissance/early
Baroque. Complete Works.
302 pages. Breitkopf and
Haertel #SON 339.
Published by Breitkopf
and Haertel (BR.SON-339).
ISBN 9790004802854.
10.5 x 13.5 inches.
Latin.
The present
volume contains the
Psalmi Davidis
Poenitentiales, seven
penitential psalms that
had already been
supplemented with the
motet Laudate Dominum de
coelis in the first
edition (1584). In the
Complete Edition,
however, the compilation
is preceded by the vocal
piece S u Su p e r per
Super (1567), which
experiments with
syllables. Though
reprinted many times, it
was assigned to various
genres according to its
place of publication:
while the piece was
considered as a motet in
Germany, in France it was
classified as a chanson
and in Italy as a
madrigal a unique case in
the reception history of
vocal music in the 16th
century. To this day we
still do not know the
significance of the vocal
text Super flumina
Babylonis, which
gradually evolves out of
syllables. Perhaps Lasso
wanted to depict a
biblical scene that
evokes the gradual
learning of a
language.
SKU: CA.2091900 Composed by Heinrich Schutz. Edited by Helmut Lauterwasse...(+)
SKU: CA.2091900
Composed by Heinrich
Schutz. Edited by Helmut
Lauterwasser. This
edition: urtext.
Stuttgart Urtext Edition:
Schutz; Hymns by Martin
Luther: Litanei. Kyrie
eleison. Sacred
concertos, Sacred vocal
music, Psalms. Full score
(complete edition /
selected edition). 368
pages. Carus Verlag #CV
20.919/00. Published by
Carus Verlag
(CA.2091900).
ISBN
9790007171711.
Volu
me 19 of the Schutz
Complete Edition brings
together 21 very
different compositions
from various phases of
Schutz's compositional
output. The spectrum
ranges from a short,
two-part sacred concerto
to a six-part cyclical
psalm setting and
large-scale polychoral
concerto, from well-known
works such as the
Osterdialog to a
completely unknown
madrigalian composition,
full of emotion, to a
simple chorale setting. A
particular challenge was
posed by the ten works or
versions of works which
survive incomplete. Two
of these, the Christmas
concerto Ach Herr, du
Schopfer aller Ding SWV
450a and Ein Kind ist uns
geboren SWV 497, appear
here for the first time
in print. With both of
these it turned out that
it was possible to
reconstruct the missing
parts fully from
available material. For
the Ultima Verba Psalmi
23, Gutes und
Barmherzigkeit SWV 95 and
the two Nunc dimittis:
Herr, nun lassest du
deinen Diener SWV 432 and
433, the editor's
reconstructions are
presented, and likewise
with the chorale movement
In dich hab ich gehoffet,
Herr SWV 446. The
impressive Easter dialog
Weib, was weinest du SWV
443 is one of the works
which survives
incomplete. In order to
give an impression of how
the whole work might
actually have sounded in
the complete form as
planned by Schutz, the
Appendix to the volume
contains a reconstruction
of the four-part vocal
setting of the missing
final chorus, based on
the surviving figured
bass. The magnificent
Gesang der drei Manner im
feurigen Ofen (Song of
the three men in the
burning fiery furnace)
SWV 448 from the book of
the prophet Daniel, the
original source of which
is lost, is critically
discussed and published
with various
possibilities for
scoring.
Orchestra; Piano (Score) SKU: HL.49042455 Concerto for piano and orche...(+)
Orchestra; Piano (Score)
SKU: HL.49042455
Concerto for piano and
orchestra No. 2 E flat
major. Composed by
Carl Maria von Weber.
Edited by Markus Bandur.
This edition: Full-cloth
binding. Sheet music.
Edition Schott.
Classical. Hardcover. Op.
32. 206 pages. Schott
Music #WGA1054-20.
Published by Schott Music
(HL.49042455).
ISBN
9783795794828.
10.0x13.25x0.845 inches.
German -
English.
Carl Maria
von Weber's fame rests
mainly on 'Der
Freischutz'. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was not conducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer, critic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in 10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (6-8 vols.)
are edited in Berlin and
the letters (8-10 vols.)
and other writings (2
vols.) in Detmold. This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Weber's
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based on
all available authentic
sources, accompanied by a
detailed documentation of
the genesis and a list of
variants for each work.
The musicological
importance of the works
will be evaluated by
placing them in their
historical context, the
presentation of their
genesis, history and
Critical Commentaries.
The letters, writings and
diaries will be treated
as inter-related and
relevant to each other in
the commentaries,
therefore readers should
benefit from a wealth of
concise information and
cross-references.
Composed
by Carl Maria von Weber.
Edited by Frank Ziegler
and Johannes Kepper. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. 306
pages. Schott Music
#WGA1021. Published by
Schott Music
(HL.49042434).
ISBN
9783795794491.
10.25x13.5x1.141 inches.
German.
Carl Maria
von Weber's fame rests
mainly on 'Der
Freischutz'. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was not conducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer, critic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in 10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (6-8 vols.)
are edited in Berlin and
the letters (8-10 vols.)
and other writings (2
vols.) in Detmold. This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Weber's
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based on
all available authentic
sources, accompanied by a
detailed documentation of
the genesis and a list of
variants for each work.
The musicological
importance of the works
will be evaluated by
placing them in their
historical context, the
presentation of their
genesis, history and
Critical Commentaries.
The letters, writings and
diaries will be treated
as inter-related and
relevant to each other in
the commentaries,
therefore readers should
benefit from a wealth of
concise information and
cross-references.
Piano (P+KRB) SKU: HL.49042462 No. 1-4. Composed by Carl Maria von...(+)
Piano (P+KRB)
SKU:
HL.49042462
No.
1-4. Composed by Carl
Maria von Weber. Edited
by Markus Bandur. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. Op.
24+39+49+70. 372 pages.
Schott Music #WGA1071.
Published by Schott Music
(HL.49042462).
ISBN
9783795794637. German -
English.
Carl Maria
von Weber's fame rests
mainly on 'Der
Freischutz'. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was not conducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer, critic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in 10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (6-8 vols.)
are edited in Berlin and
the letters (8-10 vols.)
and other writings (2
vols.) in Detmold. This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Weber's
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based on
all available authentic
sources, accompanied by a
detailed documentation of
the genesis and a list of
variants for each work.
The musicological
importance of the works
will be evaluated by
placing them in their
historical context, the
presentation of their
genesis, history and
Critical Commentaries.
The letters, writings and
diaries will be treated
as inter-related and
relevant to each other in
the commentaries,
therefore readers should
benefit from a wealth of
concise information and
cross-references.
Composed by Johann
Sebastian Bach. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Part. 44 pages.
Duration 160'. Breitkopf
and Haertel #OB 4949-26.
Published by Breitkopf
and Haertel
(BR.OB-4949-26).
ISBN
9790004326329. 10 x 12.5
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Composed by Johann
Sebastian Bach. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Part. 24 pages.
Duration 160'. Breitkopf
and Haertel #OB 4949-16.
Published by Breitkopf
and Haertel
(BR.OB-4949-16).
ISBN
9790004326305. 10 x 12.5
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Composed by Johann
Sebastian Bach. Arranged
by Horst Hempel. Choir;
Softbound.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Part. 144 pages.
Duration 160'. Breitkopf
and Haertel #OB 4949-11.
Published by Breitkopf
and Haertel
(BR.OB-4949-11).
ISBN
9790004326282. 12.5 x 10
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Set of string
parts (contains 1 violin
solo, 1 double bass, 2
of all others). 112
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360983).
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Set of non-string
parts (1 of each
including timpani). 32
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360976).
Composed by Johann
Sebastian Bach. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Part. 32 pages.
Duration 160'. Breitkopf
and Haertel #OB 4949-15.
Published by Breitkopf
and Haertel
(BR.OB-4949-15).
ISBN
9790004326299. 10 x 12.5
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Viola (solos: SATB -
choir: SATB - 2.2(2ob
d'am) 2ob da cac.0.1 -
2.3.0.0 - timp - str -
bc)
SKU:
BR.OB-4949-19
Composed by Johann
Sebastian Bach. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Part. 24 pages.
Duration 160'. Breitkopf
and Haertel #OB 4949-19.
Published by Breitkopf
and Haertel
(BR.OB-4949-19).
ISBN
9790004326312. 10 x 12.5
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Woodwinds (solos: SATB -
choir: SATB - 2.2(2ob
d'am) 2ob da cac.0.1 -
2.3.0.0 - timp - str -
bc)
SKU:
BR.OB-4949-30
Wind
set. Composed by
Johann Sebastian Bach.
Choir; Folder.
Orchester-Bibliothek
(Orchestral Library). For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Set of parts.
156 pages. Duration 160'.
Breitkopf and Haertel #OB
4949-30. Published by
Breitkopf and Haertel
(BR.OB-4949-30).
ISBN
9790004326336. 10 x 12.5
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Chorus (with soloists)
and orchestra (solos:
SATB - choir: SATB -
2.2(2ob d'am) 2ob da
cac.0.1 - 2.3.0.0 - timp
- str - bc)
SKU:
BR.PB-4949
Composed
by Johann Sebastian Bach.
Choir; Softbound.
Partitur-Bibliothek
(Score Library).
For
the composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Oratorio/passion;
Baroque. Full score. 272
pages. Duration 160'.
Breitkopf and Haertel #PB
4949. Published by
Breitkopf and Haertel
(BR.PB-4949).
ISBN
9790004207376. 9 x 12
inches.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces (here
primarily from the
Congratulatory Cantatas
BWV 213 and 214) and
skilfully adapted them to
the new text. It is
likely that Bach began
working on the music
during the Advent period
of 1734. Besides the
first performance which
took place during the
Christmas season 1734/35,
it seems quite probable
that other performances
were held during Bachs
lifetime, since the
original, partly
autographic performance
material discloses traces
of frequent
use.
For the
composition of the
Christmas Oratorio, Bach
made use of the parody
method - as he did in
other large vocal works
as well - that is, he
drew upon previously
written pieces and
skilfully adapted them to
the new text.
Composed by Gabriel Faure (1845-1924). Edited by John Rutter. This edition: pape...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
John Rutter. This
edition: paperback.
Oratorios. Classic Choral
Works. Harp part. 8
pages. Duration 35'.
Published by Oxford
University Press
(OU.9780193360990).
(Score) SKU: HL.49042437 For the Celebration of the Fiftieth Anniversa...(+)
(Score)
SKU:
HL.49042437
For
the Celebration of the
Fiftieth Anniversary of
the Reign of King
Friedrich August I of
Saxony. Composed by
Carl Maria von Weber.
Edition Schott.
Classical. Hardcover. 312
pages. Schott Music
#WGA1024. Published by
Schott Music
(HL.49042437).
ISBN
9783795794507.
Carl
Maria von Weber's fame
rests mainly on Der
Freischutz. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was notconducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer,ritic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (68 vols.)
are edited in Berlin and
the letters (810 vols.)
and other writings (2
vols.) in Detmold.This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Webers
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based
on.
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