SKU: BR.PB-14614

The study score (Studien-Edition) is available at G. Henle Verlag.

ISBN 9790004214893. 10 x 12.5 inches.

The genesis of Beethoven's 4th symphony came at an extraordinary time for the composer not only regarding productivity: Thus, in 1806 he composed, among other things, the 4th piano concerto, the three Rasumovsky string quartets op. 59, the 32 piano variations in c minor WoO 80, as well as the violin concerto op. 61. The first performance of the B-flat-major symphony occurred in March 1807 at one of the two noteworthy subscription concerts conducted by Beethoven in the Palais Lobkowitz in Vienna. In the course of time, this intellectually-stimulatin g work- so described by one of the reviewers of the Allgemeine musikalische Zeitung - found ever-increasing appeal. Throughout the entire 19th century this symphony ranked with the best-loved and most frequently performed works; its popularity spread to England where the London Philharmonic Society played it at least 25 times in the period between 1813 and 1850.Extant are only a few drafts of the 4th symphony. The autograph served as the main source for the present edition edited by Prof. Bathia Churgin, likewise editor of the 3rd symphony in the new Beethoven Complete Edition. Consulted as reference sources were copies of the score and orchestral parts as well as the original edition of the parts.

SKU: BR.PB-5522-07

ISBN 9790004212530. 6.5 x 9 inches.

To all extents and purposes, Germany is the land of artists, wrote Felix Mendelssohn Bartholdy in 1831 while on his travels in Italy; but Italy, he added, is the land of art. Indeed, everywhere he went in Italy, the 22-year-old composer found impulses for his symphony: I have to save the work until I have seen Naples. But although the country fired his inspiration: It will be the merriest piece that I have ever written, he did not actually write the Italian Symphony there. This did not occur until early 1833, when Mendelssohn obtained a commission from London, where he then conducted the first performance in May 1833. Begun the following year, his revision of the piece remained fragmentary, and the composer no longer performed the work himself. The familiar London version thus represents the only closed form of the work which the composer presented to the public. This is the version of the Italian Symphony that is now appearing in the Breitkopf Urtext collection based on the Complete Edition.

SKU: BR.PB-5694

ISBN 9790004216316. 10 x 12.5 inches.

In the fall of 1909 Sibelius wrote in his diary: At Koli! One of the greatest impressions in my life. Plans [for] 'La Montagne'! These plans proved to be for the Fourth Symphony. The composition process was not an easy one and in the end - according to his diary - Sibelius was struggling with God! and only just able to finish the work in time for the premiere in spring 1911: My new symphony is a total protest against present-day compositions. Nothing - absolutely nothing of the circus [in it]. This extraordinary work was at first found difficult to understand although its technical brilliance was recognized. The appreciation of the Fourth has, however, grown in the course of years.

SKU: BR.PB-5142

ISBN 9790004208878. 10 x 12.5 inches.

Despite the numbering, the overture Leonore No. 2 was Beethoven's first effort to precede his only opera with an adequate introduction. It had been composed last minute and in between the rehearsals for the premiere of the opera Leonore oder Der Triumph der ehelichen Liebe (Leonore, or The Triumph of Marital Love) on 20 November 1805 at the Theater an der Wien. This comprehensive, programmatic work was met with incomprehension at first performances just like the opera itself. Beethoven felt compelled to re-write Leonore completely and presented it under its new title Fidelio. In 1806 he revised the overture to such an extent that a symphonic sonata movement emerged; with another incorrect numbering, Leonore No. 3 has gone down in music history and above all it has achieved a regular place in concert repertory. And in order to complete the confusion: written in 1806/07, only Overture No. 1 is Beethoven's chronologically last effort to write an overture for Leonore, before he - many years later - put an end to this infinite subject with the so-called Fidelio overture for the third version of the opera. After all, thanks to the search after a dramaturgically convincing beginning of the opera, the music world has been enriched by four quite different orchestra scores.The music text of the present score is based on Volume 11 of the Supplements to the Complete Edition. The performance material of the Fidelio and Leonore No. 3 overtures is available in Breitkopf Urtext editions..

SKU: BR.OB-5624-30

ISBN 9790004348710. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5624-16

ISBN 9790004348673. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5624-15

ISBN 9790004348666. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5624-23

ISBN 9790004348697. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5624-27

ISBN 9790004348703. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: BR.OB-5624-19

ISBN 9790004348680. 10 x 12.5 inches.

The Overture to Ruy Blas, Felix Mendelssohn Bartholdy's last overture, was not composed as an autonomously conceived score, but as the opening piece of a stage work. Nevertheless, its immediate success at the Leipzig first performance in 1839, as well as the fact that no further contributions to Victor Hugo's drama followed from Mendelssohn's pen soon made it well known in the concert hall. The work's special history, including several arrangements occasioned by various performances, led to the fact that the overture had its largest circulation in the version of the posthumous first edition on which this edition is also based.

First printing posthumously 1851 (Rietz).

SKU: HL.49018349

ISBN 9783795794033. 9.0x12.0x0.731 inches.

Arnold Schonberg ist die zentrale Erscheinung der Musik dieses Jahrhunderts. Seine Bedeutung ist noch zu seinen Lebzeiten offenbar geworden, sein Einfluss uber seinen Tod hinaus machtig. Seine Werke haben eine grundlegende Wandlung des musikalischen Weltbildes eingeleitet.Die Ausgabe samtlicher Werke von Arnold Schonberg nimmt fur sich in Anspruch, der Forschung wie der musikalischen Praxis gleichermassen zu dienen. Sie erscheint in zwei Serien: Die Serie A in Folioformat enthalt die vollendeten Werke, die vom Komponisten gefertigten Klavierauszuge und die auffuhrbaren unvollendeten Werke; ferner Fragmente, die in dieser Serie wegen des Grossformats (grosse Partituren) besser unterzubringen sind. Die Serie B in Quartformat enthalt Fruhfassungen, Skizzen, Entwurfe und Fragmente sowie den Kritischen Bericht und die Genesis.