Edition for Gamba (Viola). Composed by Carl Philipp Emanuel Bach. Edited by Ernst-Gunter Heinemann and Wolfram Ensslin. Strings, Repertoire, Collections. Gamba Sonatas Wq 88, 136, 137. Baroque, Classical. Softcover Book. 104 pages. G. Henle #HN990. Published by G. Henle (HU.HN990). 12.2 x 9.3 x 0.3 inches. Like his father, Carl Philipp Emanuel Bach wrote three sonatas for violada gamba. They were written during his time at the Berlin court of Fred erick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his fathersexample as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. The original register of the viola da gamba part also permits a version for viola, a practice that has been verified in the sources of the time. This version is available in our Urtext edition as an alternative part.

(Edition for Gamba (Viola) with marked and unmarked string parts). By Carl Philipp Emanuel Bach (1714-1788). Edited by Ernst-Günter Heinemann, Wolfram Enlin, and Ernst-G. For Viola, Viola da gamba, Piano Accompaniment. Henle Music Folios. Softcover. 160 pages. G. Henle #HN990. Published by G. Henle

Composed by Johann Sebastian Bach (1685-1750). Edited by Martina Rebmann and Christoph Wolff. This edition: facsimile. Linen. Autograph: Staatsbibliothek zu Berlin - Preußischer Kulturbesitz. Facsimile. BWV 846-869. 98/28 pages. Baerenreiter Verlag #BVK02493_00. Published by Baerenreiter Verlag

Nos. 8-15. Composed by Ludwig van Beethoven (1770-1827). Masterworks; Piano Collection. Kalmus Edition. Form: Sonata. Classical; Masterwork; Romantic. Book. 140 pages. Kalmus Classic Edition #00-K03156. Published by Kalmus Classic Edition

Nos. 1-7. Composed by Ludwig van Beethoven (1770-1827). Masterworks; Piano Collection. Kalmus Edition. Form: Sonata. Classical; Masterwork; Romantic. Book. 132 pages. Kalmus Classic Edition #00-K03155. Published by Kalmus Classic Edition

Clavichord; harpsichord; keyboard; piano

SKU: HH.HH300-SOL

Composed by Carl Friedrich Christian Fasch. Edited by Christopher Hogwood. Clavichord; Harpsichord; Keyboard; Piano. Playing score. Edition HH Music Publishers #HH300-SOL. Published by Edition HH Music Publishers (HH.HH300-SOL).

ISBN 9790708092490.

Carl Fasch was notoriously reluctant to have his music made public and even asked that much of it should be destroyed. What remains, however, supports the view of the contemporary writer on music Johann Reichardt that Fasch was the true successor to C. P. E. Bach, with whom he shared keyboard duties for Frederick the Great. In this first volume of his complete keyboard works, the six sonatas, which appeared in print and were well regarded during the composer's lifetime, show him to be a minor master and an eloquent advocate for the eclectic expressive style then current in Berlin.

Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Zsigmond Szathmary. Free organ music. German title: 17 Kirchensonaten fur Orgel solo. Free organ music. Compact Disc. Composed 1844. 700 pages. Carus Verlag #CV 18.067/99. Published by Carus Verlag (CA.1806799).

From the Time of Frederick II. Arranged by Reinhard Matthias Ruf. Schott. 44 pages. Published by Schott.

Instrument(s) and basso continuo (2 violins; flute; flute, violin, viola; 2 violins, viola)

SKU: FZ.5830

Composed by Jean-Baptiste Quentin. Edited by Les Etudiants du C.E.F.E.D.E.M - Ile de France. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Score. Published by Anne Fuzeau Productions - France (FZ.5830).

ISBN 9790230658300. 24.00 x 33.00 cm inches.

This facsimile of an original by Jean-Baptiste Quentin is part of our French classical music collection.
Edition : Paris, l'Auteur, Boivin, Leclerc, c. 1742.
Preface by the students of the CeFEdeM-Ile-de-France: biographical elements - hints about the score (terminology, time signatures, ornamentation, phrasing, continuo bass, distribution).
Three separate instrumental parts sonata IV is a quartet (two instruments for the continuo bass).
These remarkably well written chamber music pieces deserve to be brought to light. The quartet sonata for 2 violins, viola da gamba and continuo bass is a particularly fine work. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Berlin - Preuffischer Kulturbesitz Musikabteilung mit Mendelssohn-Archiv (Germany). Anne Fuzeau Classique propose period copies of classical music scores.

From the Time of Frederick II. Arranged by Reinhard Matthias Ruf. Schott. 47 pages. Published by Schott.

Hurdy-gurdy and continuo

SKU: FZ.52151

Composed by Franz Benda. Score. Published by Anne Fuzeau Productions - France (FZ.52151).

ISBN 9790700241353. 21 x 29.7 cm inches.

Franz BENDA: 6 Sonate per il Violino Solo e Basso. Volume I: Sonates X, XXVIII et XIV. Music score: violin and continuo. Presentation: Leila Schayegh. Notice Bibliographique. Tous les violonistes doivent connaitre les sonates de ce compositeur representatif de l'ecole berlinois pre-romantique. Au caractere sensible de ces oeuvres s'ajoute l'interet de l'ornementation. Publication en partition, avec parties separees jointes (Violino - Basso). La version ornee est donnee avec la version originale, comme dans le manuscrit. La premiere page manuscrite de la sonate X est donnee en facsimile. Anne Fuzeau Classique propose classical music scores of Offenburg's publisher (Germany).

Flute & keyboard

SKU: HH.HH455-FSP

Composed by Johann Adolph Scheibe. Edited by Michael Elphinstone. Flute & Keyboard. Full score and parts. Edition HH Music Publishers #HH455-FSP. Published by Edition HH Music Publishers (HH.HH455-FSP).

ISBN 9790708146629.

Sche ibe’s three sonatas for flute (or violin) and obbligato harpsichord were published by Haffner in the late 1750’s, but were probably composed much earlier; they contain a significant quantity of elaborate imitative writing that is out of character with Scheibe’s later music. Although rooted in the same tradition as the sonatas for flute and obbligato harpsichord by J.S. Bach, C.P.E Bach, and composers at Berlin court of Frederick the Great, these are more substantial works, each having four movements in the traditional slow-fast-slow-fast scheme. For the most part they are trio sonatas, the right hand of the harpsichord acting as the second treble voice, but several movements feature idiomatic writing for the keyboard. Also interesting is the large amount of ornamentation called for, particularly in the harpsichord part. While Scheibe disapproved of the excessive embellishments that Bach actually wrote into his melody lines, these sonatas are nonetheless heavily ornamented, albeit through the insertion of notational symbols; in addition to turns and mordents, Scheibe uses no less than three different trill symbols!

SKU: HL.49045855

Critical Commentary. Composed by Carl Maria von Weber. Edited by Solveig Schreiter. Classical. Hardcover. 324 pages. Schott Music #WGA1034-20. Published by Schott Music (HL.49045855).

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 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 (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 eachwork. 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 toeach other in the commentaries, therefore readers should benefit from a wealth of concise information and cro.

Mixed choir (SATB), 2 flutes, 2 oboes, 2 clarinets, 2 bassoons - 2 horns, 2 trumpets, 3 trombones, timpani and strings (P+KRB)

SKU: HL.49042434

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.

(P+KRB)

SKU: HL.49042459

Composed by Carl Maria von Weber. Edited by Andreas Fukerider and Claudia Theis. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 274 pages. Schott Music #WGA1061. Published by Schott Music (HL.49042459).

ISBN 9783795794682. 8.75x12.25x1.022 inches.

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 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 Ludwig van Beethoven (1770-1827). Henle Music Folios. Classical. Softcover. 62 pages. G. Henle #HN1472. Published by G. Henle

2 violins, 2 violas, 2 celli - Level 6

SKU: KU.GM-1911

Composed by David Philip Hefti. Edited by David Philip Hefti. Bach format (230 x 302). In A Folder. Full score, parts. 78 pages. Duration 19 minutes. Edition Kunzelmann #GM-1911. Published by Edition Kunzelmann (KU.GM-1911).

ISBN 9790206202384. 9 x 12 inches.

Monu mentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.

The String Sextet Momentum< /em> commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents , Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum  are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s W ilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti

Cello and Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Jens Dufner. Henle Music Folios. Classical. Softcover. 62 pages. G. Henle #HN1471. Published by G. Henle

Piano Solo. By Carl Philip Emmanuel Bach. Arranged by Eiji Hashimoto. Piano Collection. Size 9x12 inches. Published by G. Schirmer, Inc.