SKU: BR.OB-5310-23

ISBN 9790004339923. 10 x 12.5 inches.

To all extents and purposes, Germany is the land of artists, wrote Felix Mendelssohn Bartholdy in 1831 while on his travels in Italy; but Italy, he added, is the land of art. Indeed, everywhere he went in Italy, the 22-year-old composer found impulses for his symphony: I have to save the work until I have seen Naples. But although the country fired his inspiration: It will be the merriest piece that I have ever written, he did not actually write the Italian Symphony there. This did not occur until early 1833, when Mendelssohn obtained a commission from London, where he then conducted the first performance in May 1833. Begun the following year, his revision of the piece remained fragmentary, and the composer no longer performed the work himself. The familiar London version thus represents the only closed form of the work which the composer presented to the public. This is the version of the Italian Symphony that is now appearing in the Breitkopf Urtext collection based on the Complete Edition.

SKU: BR.OB-5365-30

ISBN 9790004334379. 10 x 12.5 inches.

With the publication of the performance materials to the Mendelssohn Complete Edition, Breitkopf & Hartel is fulfilling its promise to release the conducting scores, parts and, in the case of well-known orchestral pieces, separate materials as soon as possible after the appearance of the respective volume in the Complete Edition. Breitkopf believes that all these important new scholarly findings should be made available directly to performers and taken into consideration in as many Mendelssohn performances as possible.

SKU: BR.PB-5365

ISBN 9790004210512. 10 x 12.5 inches.

With the publication of the performance materials to the Mendelssohn Complete Edition, Breitkopf & Hartel is fulfilling its promise to release the conducting scores, parts and, in the case of well-known orchestral pieces, separate materials as soon as possible after the appearance of the respective volume in the Complete Edition. Breitkopf believes that all these important new scholarly findings should be made available directly to performers and taken into consideration in as many Mendelssohn performances as possible.

SKU: BR.OB-5365-27

ISBN 9790004334362. 10 x 12.5 inches.

With the publication of the performance materials to the Mendelssohn Complete Edition, Breitkopf & Hartel is fulfilling its promise to release the conducting scores, parts and, in the case of well-known orchestral pieces, separate materials as soon as possible after the appearance of the respective volume in the Complete Edition. Breitkopf believes that all these important new scholarly findings should be made available directly to performers and taken into consideration in as many Mendelssohn performances as possible.

SKU: BR.OB-5623-27

ISBN 9790004348765. 10 x 12.5 inches.

Certainly Robert Schumann was right when he stated soon after Beethoven's death that the latter's conception of the symphony as a great, universal confessional work was hardly to be continued by the next generation of composers. He saw a solution to the dilemma in the creation of autonomous concert overtures, such as those written, for instance, by Felix Mendelssohn Bartholdy: Four of his overtures were printed during his lifetime, and others were extant in manuscript, though frequently and successfully performed by the composer. Belonging to the latter group is the Trumpet Overture, begun in 1825 and performed three times between 1828 und 1833 on prominent occasions in Berlin, Dusseldorf, and London.

First printing posthumously 1851 (Rietz).

SKU: HL.49033205

ISBN 9783795703837. German.

Bis vor wenigen Jahren wurde der Schauspielmusik, abgesehen von einzelnen herausragenden Werken, von der Musikwissenschaft kaum Beachtung geschenkt; eine historiographische Gesamtdarstellung bzw. editorische Auseinandersetzung steht noch aus. Gerade das letzte Drittel des 18. und das erste Drittel des 19. Jahrhunderts konnen als eine Blutezeit der Schauspielmusik angesehen werden. In diesen Jahrzehnten entstand nicht nur eine unuberschaubare Menge solcher Kompositionen; die Problematik der musikalischen Untermalung bzw. Bereicherung des Sprechtheaters wurde auch im asthetischen Diskurs, anknupfend an Gottsched, Scheibe und Lessing, immer wieder thematisiert. Am Beispiel ausgewahlter Buhnenwerke, beginnend mit Kompositionen von Johann Andre, G. J. Vogler und J. F. Reichardt bis hin zu Mendelssohn, Lortzing und Wagner, wird deutlich, wie verschiedenartig die Anspruche von Autoren und Theaterleitern in Bezug auf die Schauspielmusik sein konnten, und wie die unterschiedlichen Moglichkeiten der Theater-Ensembles die Komponisten beeinflussten. Die Spanne reicht von weitgehend beliebigen Arrangements mit grosstmoglichem 'Wiederverwendungswert' bis hin zu gross angelegten 'analogen', d. h. ausschliesslich auf ein bestimmtes Schauspiel bezogenen, vorbildhaften Kompositionen (z. B. Beethovens Egmont, Webers Preciosa, Mendelssohns Sommernachtstraum-Musik). Besonderes Interesse gilt der Problematik der Edition von Schauspielmusiken, die durch ihre enge Bindung an das Drama einen fachubergreifenden Austausch unter Literatur-, Theater- und Musikwissenschaftlern erforderlich macht. Hier zeigt sich, dass kaum eine 'Patentlosung' zu finden ist; vielmehr stellt jeder Komponist, jedes Werk andere Anspruche an den Editor. Ausgehend von einem Grundkonsens, der die wechselseitige Bedingtheit von Drama und Musik unterstreicht, fuhren nur individuelle, vom einzelnen Werk ausgehende Strategien zu einer adaquaten Wiedergabe in der Edition.

SKU: HL.49022992

ISBN 9790001107846.

SKU: HL.49022984

ISBN 9790001107761.