In response to a continued interest in a scholarly facsimile of the Mass in B minor, a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911).

Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans-Georg Nägeli enthusiastically described the Mass as the greatest musical artwork of all time and all nations?. Since then it has been ranked as an icon of music history.

One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages Bach?s handwriting reflects the effort which this last work demanded of him.

The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years.
The renowned Bach scholar Christoph Wolff describes the work?s significance in his introduction, gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript.


This facsimile edition is a model for the presentation of musical sources, both in appearance and in documentation. [?] Wolff's facsimile will serve as foundational tools
(Notes, December 2008)

Once, Bach came up against the boundaries of his art, on blotchy, 260-year-old paper. ?Et expecto?? is this point in the B minor mass, ?And I look for the resurrection of the dead.? Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out ? although this is a fair copy ? hatched and scratched until the paper tore. He was already an old man, his script leans to the left. The handwriting here isn?t nearly as lively as in the ?Cum sancto Spirito?, written earlier. Everywhere, one is moved by the closeness to the manuscript which the facsimile conveys ? one of the most sumptuous ever published.
(DIE ZEIT Literatur, December 2007) / [Messe en Si mineur BWV 232] / Classique / Fac-similé /

New Liszt Edition III Vol. 1. Par LISZT FRANZ. Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft. Schubert's Fantasy in C major (also known as the 'Wanderer' Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862. This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English. / Date parution : 2023-03-11/ Répertoire / 2 Pianos

Par BEETHOVEN LUDWIG VAN. Urtext edition reflecting the latest musicological research. With many corrections in the solo part and Orchestral parts. Piano reduction for 2 Pianos with a separate solo Piano part. A must for Pianists,Orchestras and Beethoven scholars. Beethoven?s Piano Concerto No.3 is the only concerto where no authentic manuscript exists for the solo part. The autograph of the score is available whereby the articulation,dynamics and pedal markings are for the most part absent. However, Beethoven oversaw the first printed edition of the solo part (1804) with great diligence. Plate corrections bear witness to the care with whichBeethovenplaced slurs and pedal markings in order to be consistent and unambiguous. By means of a thorough examination of the sources this new Urtext edition presents many corrections in terms of articulation, dynamics andnotes. In particular, the orchestral parts have been corrected for the first time since Beethoven?s lifetime. / Date parution : 2022-02-26/ Répertoire / 2 Pianos

orchestrated by Ferde Grofé edited by Ryan Raul Bañagale. Par GERSHWIN GEORGE. The names of George Gershwin (1898–1937) and Ira Gershwin (1896–1983) are synonymous across the globe with American musical creativity. The Gershwin family estates, their publishers, and the University of Michigan have joined forces to produce The George and Ira Gershwin Critical Edition—the first-ever scholarly edition of the Gershwins’ music and lyrics. This all-new practical edition facilitates both study and performance, giving a wide audience of musicians, scholars, students, and enthusiasts alike greater insight into the Gershwins’ art. The goal is to create clear and definitive publications that achieve the most accurate representations possible of the Gershwin brothers’ unique and pioneering creativity. This all-new critical edition of the original 1924 arrangement of George Gershwin’s Rhapsody in Blue presents an authoritative transcription of arranger Ferde Grofé’s handwritten holograph score preserved in the collection of the United States Library of Congress in Washington, DC. The edition represents as best as possible the piece as premiered by the Paul Whiteman Orchestra at his 'Experiment in Modern Music' concert on February 12, 1924. Grofé prepared the score for the specific talents and timbres of the Whiteman Orchestra, largely from an ink fair copy of Gershwin’s two-piano short-score manuscript. Gershwin continued to modify the piano solo portion of this short score during rehearsals and, most likely, even after the premiere of the piece. / Date parution : 2023-10-31/ Répertoire / Piano 4 Mains

The first performance of George Frideric Handel’s oratorio “Messiah” on 13 April 1742 in Dublin aroused unqualified rapture. A newspaper report a few days later declared that it combined “the Sublime, the Grand, and the Tender”. Its success has remained undiminished ever since, and the “Messiah” has taken its place in musical life.

In 2009, to mark the 250th anniversary of Handel’s death, the British Library and Bärenreiter joined forces and made the autograph score of the “Messiah” available to the public in a meticulously reproduced, lavishly published facsimile.

The renowned Handel scholar Donald Burrows introduces the characteristics of Handel’s manuscript, describes the history of the work’s composition, and explains the differences between later versions of the “Messiah”, as reflected in the conducting scores. A two-page sketch from the Fitzwilliam Museum Cambridge completes the publication. / [Le Messie HWV 56] / Classique / Fac-similé /

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

Par BRAHMS JOHANNES. '… and so gladly would I have given you a hundred-thousand kisses!”- Georg Friedrich Daumer A circle of friends as a vocal quartet alternating with solo voices and two good pianists - Brahms wrote his 'Liebeslieder Walzer” not for the grand concert hall but as chamber music for use at home. His first collection op. 52 was so successful that in 1874 he wrote a new set on poems by Daumer and Goethe entitled 'Neue Liebeslieder”. In 2010 the Swiss bank UBS placed the autograph of the Neue Liebeslieder on permanent loan to the music room of the Zentralbibliothek Zürich. For this occasion the library, together with the Brahms Institute of Lübeck University of Music and the musicology department of Zurich University, organised a symposium on the 'Liebeslieder Walzer” and their context. Brahms' lavishly reproduced manuscript appears in its own hand-stitched volume accompanied by the papers featured at the authoritative symposium in a separate booklet. All of this is presented in a handsome cloth-bound box along with an audio CD, allowing the work to be experienced both visually and aurally./ Répertoire / Fac-similé