Basso Continuo; Cello; Cello 2; Strings; Violin 1, 2 (Parts)

SKU: HL.50601270

For two Violins, two Cellos, Strings, and Basso Continuo Set of P. Composed by Antonio Vivaldi. Ensemble. Classical. Softcover. Ricordi #NR141662. Published by Ricordi (HL.50601270).

UPC: 888680745547. 8.0x10.5x0.26 inches.

The critical edition of Vivaldi's instrumental works is now enriched with a new title, substantial and interesting: this is the concerto for two violins and two cellos, RV 575, a work previously published in the Ricordi-Malipiero edition and performed and recorded numerous times without its incompleteness ever being noticed: this is a most unusual instance where the loss of a single folio of the manuscript, containing around 14 bars of music, produced no obvious harmonic or melodic hiatus between the surrounding material, thereby giving the impression of a work preserved in its entirety. However, a careful study of the work shows that, on the contrary, there is a significant gap, for the filling of which the editor offers a plausible reconstruction. In addition to this large section of music, the manuscript is seen to lack a few short 'echo' responses between the soloists: one more reason for republishing the work in a critical edition with commentary that is designed to stimulate better-informed performances in the future.

Chamber Music Cello, Flute, Viola 1, Viola 2, Violin

SKU: CF.MXE219

Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219).

ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches.

Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozartâ� ��™s friend Hoffmeister had regrettably attempted such “improvementsâ€� �—I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints” of imagined chamber works. Hence my task was to “flesh out” the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right” one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.” Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.” That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind” by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus” persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet” between flute and first viola seems to anticipate the impassioned “duetting” between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock” section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new” Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020.

This concerto is one continuous movement that is clearly divided into 3 main sections. The first movement is moderately fast and rhapsodic in charachter followed by a second section with an accompanied cadenza in the middle, the final movement is a fast-paced, energetic crescendo that leads to the climax of the work at the end. The solo part is a long and endlessly varied narrative that embraces the whole technical vocabulary of the cello available to both composer and soloist, with the harmonic aura being established by the orchestra from the beginning. The orchestra provides a platform of chords based on major and minor thirds which are the building blocks for the entire concerto both for soloist and orchestra. The harmonic scenery created by the orchestra is very much at the service of the soloist, always seeking to support and highlight the poetic and dramatic content of the solo part as well as providing a transparent and clear harmonic framework. The accompaniment for the piece is dense, at times polyphonic and sometimes multi-layered but only towards the very end is the orchestra allowed to dominate, in the final climax of the work. Commissioned by William Conway. First performed with the Scottish Chamber Orchestra in 1995

Double bass

SKU: KU.OCT-10021_KB

Composed by Antonio Vivaldi. Edited by Laszlo Hara. Bach format (230 x 302). Rv 497, Pv 72, F. Viii/7, Ric. 72. Folded. Part. 3 pages. Edition Kunzelmann #OCT-10021_KB. Published by Edition Kunzelmann (KU.OCT-10021_KB).

ISBN 9790206203176. Key: A minor.

Violin 1

SKU: KU.OCT-10021_VL1

Composed by Antonio Vivaldi. Edited by Laszlo Hara. Bach format (230 x 302). Rv 497, Pv 72, F. Viii/7, Ric. 72. Staple Bound. Part. 5 pages. Edition Kunzelmann #OCT-10021_VL1. Published by Edition Kunzelmann (KU.OCT-10021_VL1).

ISBN 9790206203138. Key: A minor.

Violin 2

SKU: KU.OCT-10021_VL2

Composed by Antonio Vivaldi. Edited by Laszlo Hara. Bach format (230 x 302). Rv 497, Pv 72, F. Viii/7, Ric. 72. Staple Bound. Part. 5 pages. Edition Kunzelmann #OCT-10021_VL2. Published by Edition Kunzelmann (KU.OCT-10021_VL2).

ISBN 9790206203145. Key: A minor.

Cello

SKU: KU.OCT-10021_VC

Composed by Antonio Vivaldi. Edited by Laszlo Hara. Bach format (230 x 302). Rv 497, Pv 72, F. Viii/7, Ric. 72. Staple Bound. Part. 6 pages. Edition Kunzelmann #OCT-10021_VC. Published by Edition Kunzelmann (KU.OCT-10021_VC).

ISBN 9790206203169. Key: A minor.

Viola

SKU: KU.OCT-10021_VA

Composed by Antonio Vivaldi. Edited by Laszlo Hara. Bach format (230 x 302). Rv 497, Pv 72, F. Viii/7, Ric. 72. Staple Bound. Part. 5 pages. Edition Kunzelmann #OCT-10021_VA. Published by Edition Kunzelmann (KU.OCT-10021_VA).

ISBN 9790206203152. Key: A minor.

Composed by Wolfgang Amadeus Mozart / J.N. Hummel. Edited by Leonardo Miucci. For piano solo. Piano part. Published by Edition HH Music Publishers

Violin 1 (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-5645-15

Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Birgit Muller. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo concerto; Romantic. Part. 12 pages. Duration 25'. Breitkopf and Haertel #OB 5645-15. Published by Breitkopf and Haertel (BR.OB-5645-15).

ISBN 9790004344729. 10 x 12.5 inches.

Felix Mendelssohn Bartholdy created a standard work with his final violin concerto in E minor op. 64 MWV O 14 that is now firmly established in today's concert repertoire. When in 1838 the composer indicated that he had in mind a violin concerto [...] in E minor [...], it was not only his friend Ferdinand David, the Gewandhaus concertmaster for whom it was intended, who was euphoric. The whole civilized violin world was awaiting this concerto - and yet it was another seven years before the much-anticipated composition was ultimately published by the Leipzig publishing house Breitkopf & Hartel in June 1845, as well as simultaneously in London and Milan. The concerto particularly appeals through its innovative treatment of the solo part, not only because the solo violin strikingly opens the first movement without a preceding orchestral tutti, but also because of its musical dialogue with the orchestra. The Leipzig Gewandhaus premiere on 13 March 1845 with Ferdinand David as soloist under the direction of Nils Wilhelm Gade served - as so frequently with Mendelssohn - virtually as a proofreading process. After the composer subsequently made extensive changes that also involved David, the work first appeared just short of nine months later. The first edition documents the composer's valid final revision, which is reproduced as the work's main version in the present Urtext edition.The matching piano reduction includes not only an unmarked string part, but also a part with the established markings by Igor Oistrach.

(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by William Purvis. Score and Parts. Southern Music. Hal Leonard #SU786. Published by Hal Leonard

(for Woodwind Quintet). Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by William Purvis. Score and Parts. Southern Music. Hal Leonard #SU787. Published by Hal Leonard

SKU: CA.2091900

Composed by Heinrich Schutz. Edited by Helmut Lauterwasser. This edition: urtext. Stuttgart Urtext Edition: Schutz; Hymns by Martin Luther: Litanei. Kyrie eleison. Sacred concertos, Sacred vocal music, Psalms. Full score (complete edition / selected edition). 368 pages. Carus Verlag #CV 20.919/00. Published by Carus Verlag (CA.2091900).

ISBN 9790007171711.

Volu me 19 of the Schutz Complete Edition brings together 21 very different compositions from various phases of Schutz's compositional output. The spectrum ranges from a short, two-part sacred concerto to a six-part cyclical psalm setting and large-scale polychoral concerto, from well-known works such as the Osterdialog to a completely unknown madrigalian composition, full of emotion, to a simple chorale setting. A particular challenge was posed by the ten works or versions of works which survive incomplete. Two of these, the Christmas concerto Ach Herr, du Schopfer aller Ding SWV 450a and Ein Kind ist uns geboren SWV 497, appear here for the first time in print. With both of these it turned out that it was possible to reconstruct the missing parts fully from available material. For the Ultima Verba Psalmi 23, Gutes und Barmherzigkeit SWV 95 and the two Nunc dimittis: Herr, nun lassest du deinen Diener SWV 432 and 433, the editor's reconstructions are presented, and likewise with the chorale movement In dich hab ich gehoffet, Herr SWV 446. The impressive Easter dialog Weib, was weinest du SWV 443 is one of the works which survives incomplete. In order to give an impression of how the whole work might actually have sounded in the complete form as planned by Schutz, the Appendix to the volume contains a reconstruction of the four-part vocal setting of the missing final chorus, based on the surviving figured bass. The magnificent Gesang der drei Manner im feurigen Ofen (Song of the three men in the burning fiery furnace) SWV 448 from the book of the prophet Daniel, the original source of which is lost, is critically discussed and published with various possibilities for scoring.

SKU: HL.50497696

Special Import. Softcover. Hal Leonard #R13446300. Published by Hal Leonard (HL.50497696).

UPC: 888680063658. 6.75x10.5x0.414 inches.

SKU: HL.50497588

String. Softcover. 52 pages. Hal Leonard #PR562. Published by Hal Leonard (HL.50497588).

8.0x10.75x0.158 inches.

(Score). Composed by Antonio Vivaldi (1678-1741). Antiqua (Chamber Music). Score. 16 pages. Schott Music #ANT123. Published by Schott Music

(Critical Edition Score). Composed by Antonio Vivaldi (1678-1741). For Score (Score). String Orchestra. Softcover. Ricordi #PR1413. Published by Ricordi

Piano Quintet

SKU: BR.MR-1143

Composed by Antonio Vivaldi. Edited by G. Bach and N. Delius. Chamber music; stapled. Musica Rara. Baroque period. Score and parts. 36 pages. Breitkopf and Haertel #MR 1143. Published by Breitkopf and Haertel (BR.MR-1143).

ISBN 9790004480830. 9 x 12 inches.

SKU: BA.BA05855

Singspiel in three acts. Composed by Georg Philipp Telemann. Edited by Wolfgang Hirschmann. This edition: Edition of selected works, Urtext edition. Linen. Telemann Musical Works. Volume 37. Singspiel (Choral). Edition of selected works, Score. TWV 21. Duration 1 hour, 39 minutes, 59 seconds. Baerenreiter Verlag #BA05855_00. Published by Baerenreiter Verlag (BA.BA05855).

ISBN 9790006497942. 33.1 x 26.1 cm inches. Text: Christoph Gottlieb Wend.

In Die Last-tragende Liebe oder Emma und Eginhard (1728) several strands and levels of plot are interwoven in complex fashion. The serious is intertwined with the comic, affairs of state with the individually human. People of high rank and lower rank communicate with each other, one group perfectly understanding the language of the other and even capable of speaking it if necessary.

Charlem agne, emerging victorious from a war, learns that his daughter Emma and his secretary Eginhard have fallen in love with each other. As Emperor, Charlemagne, pressed by his wife Fastrath, has to oppose this relationship, but as a loving father he comes into conflict, as Emma has to decide between her love or a marriage befitting her social standing. In addition to this, Emma is wooed by Prince Heswin who in turn is loved by Emma’s friend Hildegard. The servant Barbara, who is pursued by the factotum Urban, is in love with Eginhard, but it is Steffen, the commentator on everything, who succeeds in winning her.

Telemann†™s highly complex music, expressive and emotional, artistic and stylish, is suited to each and every situation and level – “an incomprable masterpiece by Herr Telemann who is never praised enough”, as the printed libretto stated.

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

SKU: HL.50039700

Score. Composed by Antonio Vivaldi. Edited by Gianfranco Prato. String Solo. Classical. Score Only. Composed 1984. Ricordi #PR1051. Published by Ricordi (HL.50039700).

6.75x10.5 inches.

Composed by Leopold Auer. For Violin. Book; Reference Textbooks; Textbook - Instrumental. Dover Edition. Published by Dover Publications

Choir

SKU: GI.G-5010

Composed by Gary Daigle, Rory Cooney, and Theresa Donohoo. Holy Week, Easter, Palm Sunday, Holy Thursday, Good Friday, Easter Sunday. Sacred. Collection. GIA Publications #5010. Published by GIA Publications (GI.G-5010).

This profound collection for Palm Sunday, Triduum, and Easter, deeply infused with the passion of the season, evolves from the worship in the parishes where Rory Cooney and Gary Daigle have served over the years. Trumpet in the Morning, Rory Cooney's highly inspirational hymn for the millennium, is set to the haunting strains of an early-American melody. The text draws on jubilee imagery, especially from the book of Leviticus, but its point of view is distinctly modern. New hymns resound with the emotions of the season, including the solemn strains of Good Friday's Precious Blood and the truly uplifting title song, This Very Morning. Also included is a new concertato arrangement of Suzanne Toolan's classic, I Am the Bread of Life. Highlights of this collection include a stirring acclamation for baptism that has been expanded into a song for the sprinkling of the assembly. There is an upbeat Litany of Saints to accompany the baptismal procession to the font, appropriately based on When the Saints Go Marchin' In and incorporating the refrain from that enduring spiritual. One each of the following octavos: TRUMPET IN THE MORNING (G-4970) • QUIET STRENGTH (G-5011) • PALM SUNDAY PROCESSIONAL (G-5012) • LENTEN GOSPEL ACCLAMATION (G-5013) • PRECIOUS BLOOD (G-5014) • FRACTION RITE AND “TABLEPRAYER” (G-5015) • CONCERTATO ON “I AM THE BREAD OF LIFE” (G-5016) • PSALM 31: I PLACE MY LIFE (G-3613) • GENESIS READING FOR THE GREAT VIGIL (G-5018C) • PSALM 118 (EASTER ALLELUIA) FOR THE GREAT VIGIL (G-5019) • A LITANY OF SAINTS: WHEN THE SAINTS COME MARCHIN’ IN (G-5020) • YOU HAVE PUT ON CHRIST (G-5021) • THIS VERY MORNING (G-5022).