19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German Music Edition Prize 'Best Edition' 2008. Johann Sebastian Bach: Sämtliche Kantaten, Motetten, Choräle und Geistliche Lieder. The complete cantatas, chorales and motets in study editions in 19 volumes. This special edition exclusively offers the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. It is well presented on high quality paper and has a durable sewn binding. A MUST for everyone who is passionate about Bach´s music! No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. Bärenreiter?s unique edition, which encompasses more than 11, 000 pages, includes all cantatas together with the motets, chorales and sacred songs in the Urtext of the ?New Bach Edition? (NBA Series I and III). As a special extra, the recently rediscovered aria ? Alles mit Gott und nichts ohn ? ihn ? is also included. Only available here is an additional volume with an introduction (German/English) by Christoph Wolff and an index. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas, Chorales and Motets in a handy, readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement / Mottet / Répertoire / Partition de Poche

Par MAHLER GUSTAV. In this great work, first published in 1912, Mahler experimented with the four-movement symphonic form, producing a masterpiece of musical innovation, satiric writing and poetic drama expressed in purely instrumental terms. Now the full orchestral score of the Ninth Symphony is available in this inexpensive, high-quality edition, reprinted from an authoritative Viennese score. Music lovers and admirers of Mahler's work will find in these pages abundant evidence of the fresh and formidable thinking the composer brought to this monumental composition. One of the last composers of the great Romantic tradition, Mahler possessed a strong sense ofthe dramatic in life. He chose to record that drama in nine magnificent symphonies, all works of vivid orchestration, innovative symphonic structure, and rich emotional expression./ Répertoire / Orchestre

The new scholarly-critical edition of the score of Rameau's 'ballet héroïque? Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc généreux, Les Incas du Pérou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the 'ballet héroïque? was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Pérou and Les Sauvages (1751-73).With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau's central stage works for use also in concert performance.- Based on Opera Omnia Rameau (OOR) Series IV/2 and IV/7- Well-presented layout in a format of 23.7 x 33 cm / Orchestre

Par HAENDEL GEORG FRIEDRICH. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions./ Répertoire / Chant et Orchestre

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version. This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts. The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur

Par CASABLANCAS BENET. Shade and Darkness, lasting some 12:30 minutes, was co-commissioned by the Centro Nacional de Difusión Musical and the Festival Internacional de Música y Danza de Granada. The work is inspired by Turner's famous painting of the same name, subtitled 'The Night Before the Flood', although this does not imply any programmatic or even less descriptive intention, beyond the composer's admiration for the painter, and for the richness of tones and chiaroscuro, subtlety in the treatment of pictorial matter, and the dynamism and emotional force present in his work, to whose depth John Ruskin alludes: 'Nuance is in Turner, first of all, a beautiful aid to the great impression to be conveyed, but it is neither the source nor the essence of that impression; it is little more than a visible melody... preparing the feelings for the reading of the mysteries of God.' The score, generous in expressive contrasts, explores the ductility and richness of possibilities of the strings, with a very diversified use of textures, densities and colours. The formal arrangement describes a wide ternary arc, consisting of two slow and often static sections - not without ominous foreboding - and a more lively central part, punctuated by occasional turbulence and dazzling flashes of timbre, culminating in a powerful climactic process. In the final bars the four voices of the classical quartet fleetingly emerge, as a tribute to Günter Pichler, founder and member of the Alban Berg Quartet, to whom the score is dedicated, and who conducted the premiere of the work in front of the Joven Orquesta Nacional de España on 24 and 25 June 2014 at the Auditorio Nacional de Música in Madrid and in the Patio de los Mármoles del Hospital Real in Granada. / Date parution : 2022-03-15/ Répertoire / Petit Orchestre

Par JOSEF STOIBER FRANZ. This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly. Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scalechoral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn ”. The complete performance material for several “Sturm und Drang” symphonies and all of the London and Paris symphonies is now available from Bärenreiter. Based on the Henle Complete Edition of the “Works of Joseph Haydn ” Orchestral parts in a large format (25. 5 cm x 32. 5 cm) Full score & performance material available for sale (BA10980)/ Répertoire / Orchestre

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

Eine kleine Nachtmusik' '... written with ease, but skillfully refined' 'Eine kleine NachtMusick' is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. It was written without any known incentive or commission during the time that Mozart was composing 'Don Giovanni', a time when he was celebrating his greatest success as an opera composer. The work is one of the jewels of Mozart's output, combining bright radiance and a natural simplicity with brilliant refinement. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart's original. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. These pages ' in high-quality colour printing, each trimmed individually ' are presented in a handsome box. This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. 'The fact that it's all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.' (Wolfgang Hildesheimer) BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: - a facsimile in high-quality colour printing - scholarly commentary 'Facsimile of the autograph score KV 525 'Introduction: 'I. 1787: The work. Its background, genesis, significance and impact 'II. The Autograph. Its clear, its twisted paths 'Notes and References 'Einführung: 'I. 1787: Das Werk. Sein Umfeld, seine Entstehung, Bedeutung und Wirkung 'II. Das Autograph. Seine eindeutigen, seine verschlungenen Pfade 'Anmerkungen 'Watermark No. 55 'Facsimile of the autograph fragment KV 525a Edition no.: BVK 2282 ISBN: 9783761822821 Volume / Series: Documenta musicologica II/46 / Bärenreiter Facsimile Editor: Rehm, Wolfgang Language(s) of work: German, English Product format: Facsimile Binding: in a case Pages / Format: 38 S. - 25,4 x 34,0 cm

Par BEETHOVEN LUDWIG VAN. Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven 's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No. 9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication of the Beethoven Symphonieswhich can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and complete performance material to Beethoven’s Nine Symphonies are available for sale./ Répertoire / Orchestre

Hob I:81. Par HAYDN FRANZ JOSEF. Haydn' s Symphony in G major Hob. I:81 comes from a series of three symphonies completed in late 1784 (nos. 81, 80 and 79, presumably in that order). No autograph score survives for Hob. I:81, thus our Urtext edition is based on copyists' manuscripts and first editions. As with so many of his symphonies, Haydn wrote this one to provide new music for his employer, Prince Nikolaus Esterházy. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn' s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. Bärenreiter has now published the complete performance material for several Sturm und Drang symphonies and all the London and Paris symphonies (Nos. 81 to 104). - Based on the G. Henle Complete Edition of the Works of Joseph Haydn - Orchestral parts in a large format (25.5 x 32.5 cm)/ Répertoire / Orchestre

Clara Wieck?s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ?it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano?? In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara?s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann?s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann?s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann?s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Par BEETHOVEN LUDWIG VAN. With final chorus 'An die Freude' (Ode to Joy) Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widelyused publication of the Beethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and complete performance material to Beethoven’s Nine Symphonies are available for sale. Full score & performance material (BA9009), study score format 22. 5 x 16. 5cm (TP909) & vocal score (BA9009-90) available for sale/ Répertoire / Orchestre