Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti.
A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
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
(Orchestra) SKU: BA.BA11902 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11902
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 43. Baerenreiter
Verlag #BA11902_00.
Published by Baerenreiter
Verlag (BA.BA11902).
ISBN 9790006573417.
32.5 x 25.5 cm
inches.
Beethoven
composed the ballet music
“Die Geschöpfe
des Prometheusâ€
during 1800–01,
commissioned by the
ballet master Salvatore
Viganò for
performances with his
Viennese company.
Although the ballet was
initially quite
successful, with almost
thirty continuous
performances, it did not
enjoy a sustained
performance tradition.
Its overture, however,
was a different matter:
considered almost a
symphonic movement in
terms of orchestration,
style and structure, it
was often performed on
its own even during
Beethoven’s
lifetime.
In
general, previous
editions of this overture
relied on the first print
as the main source.
However, the authenticity
of this source cannot be
convincingly proven. For
this new edition,
Beethoven specialist
Jonathan Del Mar
incorporates various
manuscript sources,
including a set of parts
from 1803/4 that has
never been considered
before. In this way,
numerous discrepancies
could be
clarified.
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
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra (Orchestra) SKU: BA.BA04593-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04593-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Gerhard Allroggen. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 1.
Musikwissenschaft,
Klassik (Critical
Commentary, Classical).
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA04593_01.
Published by Baerenreiter
Verlag (BA.BA04593-01).
ISBN 9790006451371. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
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
Orchester-Ballade.
Composed by Leos Janacek.
Edited by Jarmil
Burghauser and Radomil
Eliska. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/6. Complete edition,
Score. Composed
1912-1914. Duration 12
minutes. Baerenreiter
Verlag #BA06848_00.
Published by Baerenreiter
Verlag (BA.BA06848).
ISBN 9790006483303.
34.4 x 27 cm inches.
Text: Svatopluk
Cech.
Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This editon
presents an authentic
printed text based on all
available sources for
each work. In addition to
the musical text, each
volume also contains a
critical report (Czech /
German), a rendition of
deleted or rejected
versions, and a
comprehensive appendix of
facsimiles.
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
Orchestra SKU: SU.27020085 For Orchestra. Composed by Graham Gordo...(+)
Orchestra
SKU:
SU.27020085
For
Orchestra. Composed
by Graham Gordon Ramsay.
Orchestra. Study Score.
Subito Music Corporation
#27020085. Published by
Subito Music Corporation
(SU.27020085).
Jacob vs. Angel
is a piece about crisis
of conscience, ambiguity,
and misinterpretation
expressed through the
depiction of a major
battle, the goal of which
is never made entirely
clear. Based on the
biblical story, the work
is highly programmatic,
with each of the six
movements reflecting a
corresponding stanza from
the titular poem by Alice
Weaver Flaherty. The
piece was originally
composed as a vehicle for
virtuoso organist
Heinrich Christensen, and
later orchestrated. The
first movement introduces
the main musical
material--a five note
motive, the intervals of
which are reorganized to
create melodic and
harmonic development
throughout the piece. The
second, third, and fourth
movements depict the
brutal fight between
Jacob and the angel, and
lead one to the next
without pause. The fifth
movement is about the
post-battle scene, and
the final movement is an
epilogue, reframing the
ideas from the previous
movements. The music
elucidates various
actions from the Flaherty
poem—sand
skittering across the
desert, aggressive acts
of violence and
sensuality between the
protagonists, the beating
of wings, feathers
blowing in the wind, etc.
But beyond the music's
more literal elements,
the work is designed to
express an abstract state
of mind, a sense of
unease, and anticipation
of what is yet to come.
—Graham Gordon
Ramsay2(2) 1,1 2 2; 2221;
7perc, hp, cel; stgs
Duration: 24'Composed:
2023 Published by:
Distributed Composer
Jacob vs Angel was
composed originally as a
solo concert organ work
in 2007; the orchestral
version was completed in
2023. A live performance
of the organ version can
be seen at. Performance
materials available on
rental:.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
Instrument (Instruments) SKU: BA.BA02963 Sechs Instrumentalwerke in ve...(+)
Instrument (Instruments)
SKU: BA.BA02963
Sechs
Instrumentalwerke in
verschiedenartiger
Besetzung. Urtext der
Telemann-Ausgabe.
Composed by Georg Philipp
Telemann. Edited by
Johann Philipp
Hinnenthal. This edition:
Edition of selected
works, Urtext edition.
Linen. Telemann Musical
Works. Volume 13. Edition
of selected works, Score,
anthology. Baerenreiter
Verlag #BA02963_00.
Published by Baerenreiter
Verlag (BA.BA02963).
ISBN 9790006428151. 30
x 26 cm inches. Preface:
Johann Philipp
Hinnenthal.
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
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 88.
Duration 12 hours.
Baerenreiter Verlag
#BA10418_00. Published by
Baerenreiter Verlag
(BA.BA10418).
ISBN
9790006564644. 32.5 x
25.5 cm inches. Key: G
major. Preface: Jonathan
Del Mar.
The
performance material
available up till now for
Dvorákâ??s sun-filled
cheerful Symphony no. 8
has been notorious for
its myriad mistakes. The
challenge of correcting
it has now been taken
over by the editor
Jonathan Del Mar. He has
taken into account the
engraverâ??s copy, which
was actually discovered
in a trash bin at
Novelloâ??s in 1964. Its
title page bears the
words â??Copied from my
original manuscriptâ?
in Dvorákâ??s hand.
This source proves that
many of the readings
contained in the first
edition and faithfully
adopted in all subsequent
editions, were simply
slips of the copyistâ??s
pen.
This new
edition with score and
orchestral parts in an
enlarged format is
accompanied by a detailed
Critical Commentary on
the sources and
alternative readings. It
also contains important
facsimile pages to
clarify problematical
readings.
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
(Score and Sound Masterworks). By Antonin Dvorak (1841-1904). Study Score. Study...(+)
(Score and Sound
Masterworks). By Antonin
Dvorak (1841-1904). Study
Score. Study Score with
CD. Softcover with CD. 88
pages. Published by Hal
Leonard . Sheet music
CD.
Composed by Antonin
Dvorak. Edited by Robert
Simon. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 45/2.
Baerenreiter Verlag
#BA10402_00. Published by
Baerenreiter Verlag
(BA.BA10402).
ISBN
9790260104723. 24.3 x 31
cm inches. Key: G minor.
Preface: Simon,
Robert.
Dvorák
composed his
“Slavonic
Rhapsodies†op. 45
in 1878, initiating his
so-called “Slavonic
periodâ€. They were
issued by the publisher
Simrock the following
year as three independent
orchestral pieces (in D
major, G minor and A-flat
major) appearing under
the same opus
number.
Now the
“Slavonic
Rhapsodies†are
being issued separately
in scholarly-critical
editions. The editor
Robert Simon has taken
Dvorák’s
authorised first edition
as his principal
source.
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
ISBN
9790006523351. 33 x 24 cm
inches. Preface: Denis
Herlin. Text:
Charles-Antoine Leclerc
de La
Bruere.
“Dard
anus†is
Rameau’s third
“Tragdie
lyrique†composed
for Paris after
“Hippolyte et
Aricie†and
“Castor et
Polluxâ€. With its
multi-facetted music it
represents quite a high
point of this genre. Its
performance history is
remarkable in that within
only five years two
clearly different
versions were being
performed.
The new
critical edition by Denis
Herlin for the first time
offers the possibility to
reconstruct the version
of May 1744 in addition
to the version of 1739.
Also, the Appendices
include the complete
performance material of
the version of April
1744, many parts of which
could not be heard since.
Last but not least the
changes of the successful
re-staging of 1760 are
presented.
This
performing edition
contains all the purely
instrumental numbers of
the opera in their
various versions. Apart
from the preludes and
ritornellos, these are
above all the diverse
dance numbers.
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
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Carus
digital: Extra digital
products. Full Score.
Composed 1728/1729. BWV
197a / 197.1. Duration 25
minutes. Carus Verlag
#3140200. Published by
Carus Verlag
(CA.3140200).
ISBN
9790007295066.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Vocal
score. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140203. Published by
Carus Verlag
(CA.3140203).
ISBN
9790007295080.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140212. Published by
Carus Verlag
(CA.3140212).
ISBN
9790007301590.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140211. Published by
Carus Verlag
(CA.3140211).
ISBN
9790007301583.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140249. Published by
Carus Verlag
(CA.3140249).
ISBN
9790007301620.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Single
Part, viola. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140213. Published by
Carus Verlag
(CA.3140213).
ISBN
9790007301606.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Choral
Score. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140205. Published by
Carus Verlag
(CA.3140205).
ISBN
9790007295097.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140209. Published by
Carus Verlag
(CA.3140209).
ISBN
9790007301576.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Set of
Orchestra Parts. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140219. Published by
Carus Verlag
(CA.3140219).
ISBN
9790007300258.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Single
Part, basso continuo.
Composed 1728/1729. BWV
197a / 197.1. Duration 25
minutes. Carus Verlag
#3140214. Published by
Carus Verlag
(CA.3140214).
ISBN
9790007301613.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Rhapsodie für
Orchester. Composed
by Leos Janacek. Edited
by Jan Hanus and Jarmil
Burghauser. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/7. Complete edition,
Score. Composed
1915/1918. Duration 22
minutes. Baerenreiter
Verlag #BA06842_00.
Published by Baerenreiter
Verlag (BA.BA06842).
ISBN 9790006483242.
34.6 x 27.5 cm
inches.
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
ISBN 9790006523375.
32.9 x 23.9 cm inches.
Text Language:
French/German. Preface:
Soury, Thomas. Louis de
Cahusac.
Rameau's
“Les Fêtes de
l'Hymen et de
l'Amour†was long
considered second-rate
because its première
was associated with a
political event. Yet this
ballet abounds in novel
dramaturgical effects
that foreshadow his later
operas, such as
“Zaïsâ€,
“Zoroastreâ€
and “Les
Boradesâ€. Working
together with his
librettist Cahusac,
Rameau sought to weave
the dance numbers,
choruses and stage
machinery more tightly
into the main plot. He
also experimented with
stylistic devices unique
to this work, the most
famous being
unquestionably the scene
in which the Nile
overflows its banks (an
impressive ten-voice
double chorus with solo
voices and orchestra) and
the sextet from
“Arurisâ€, a
scoring found nowhere
else in his
uvre.
For the
first time, this
scholarly-critical
edition of “Les
Fêtes de l'Hymen et de
l'Amour†presents a
reference version of the
work that is based on all
the major sources for
both the libretto and the
music, including two
recent musical
discoveries. As most of
the performance material
for the première has
vanished, our edition is
based on the version
prepared for the Acadmie
Royale de Musique in
1748.
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
6 Tänze für
Orchester. Composed
by Leos Janacek. Edited
by Jarmil Burghauser and
Radomil Eliska. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek D/4.
Lachische
Tänze/Lachian Dances.
Tanz (Dance). Complete
edition, Score. Composed
1889/1927. Baerenreiter
Verlag #BA06845_00.
Published by Baerenreiter
Verlag (BA.BA06845).
ISBN 9790006483273.
34.3 x 27 cm
inches.
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
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag
Baritone Solo, 8-Part
Chorus and Orchestra
Study Score. Composed
by Johannes Brahms.
Edited by Johannes Behr
and Ulrich Tadday. Henle
Study Scores. Classical.
Softcover. G. Henle
#HN9030. Published by G.
Henle (HL.51489030).
UPC: 196288093763.
6.75x9.5x0.505
inches.
Brahms
composed his Triumphlied
for eight-part chorus,
solo baritone and
orchestra as a direct
reaction to the victory
of the German army in the
Franco-Prussian War of
1870/71 and the
consequent founding of
the German Empire.
Similar to the German
Requiem completed shortly
before, Brahms himself
compiled the text from
the Bible, in this case
from Chapter 19 of the
Book of Revelations.
Because of the somewhat
melodramatic tone of the
composition and the
nationalistic background
to the works genesis, in
recent years the
Triumphlied has seldom
been heard in concert
halls. Unlike
overly-patriotic
occasional works such as
Richard Wagner's
Kaisermarsch, the
Triumphlied is true
Brahms and is a musically
rich composition. This
study edition takes the
musical text from the
Brahms Complete Edition
(HL 51486030), thereby
representing the highest
scholarly precision. The
Appendix contains an
exciting new discovery, a
previously-unknown early
version of the 1st
movement in C major,
which was only
rediscovered in 2012 in
Bremen.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra (Viola) SKU: BA.BA08841-79 Composed by Claude Debussy. Edited b...(+)
Orchestra (Viola)
SKU:
BA.BA08841-79
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 4 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA08841_79. Published by
Baerenreiter Verlag
(BA.BA08841-79).
ISBN
9790006541232. 32.5 x
25.5 cm
inches.
Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed.
Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work.* Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through