PARTITIONS GRATUITES :
- Andreas Huber

SKU: BA.BVK02396

ISBN 9783761823965. 24 x 17 cm inches. Language: German. Preface: Dürr, Walther / Krause, Andreas.

Ersetzt BVK 2041.

SKU: CA.4606900

ISBN 9790007106126.

SKU: HL.49006765

SKU: BA.BA11242-49

ISBN 9790006563630. 15 x 21 cm inches.

The acclaimed percussionist Christian Dierstein has joined forces with a research group at the Basel Academy of Music to examine the techniques of percussion playing from an innovative perspective. The main focus falls less on the instruments than on their sound producers: beaters, mallets, sticks, bows, specific manual techniques up to and including electronic pulse generators. This book describes all of them in detail and illustrates their range of application in carefully selected and annotated examples from the repertoire.

Many essays by guest authors such as Nicolaus A. Huber, Steven Schick, Fritz Hauser and Bernhard Wulff relate the performance descriptions to ongoing aesthetic debates. They reveal that sound production and interaction with sound-generating objects have moved centre stage in contemporary composition and its expanded concepts of material and performance. The result is a comprehensive reference book for composers and performers that will also serve as a source of inspiration for future innovative approaches in percussion playing.

The authors
Christian Dierstein completed his musical studies with Bernhard Wulff (Freiburg), Gaston Sylvestre (Paris) and Wassilios Papadopulus (Mannheim). A multiple prize-winner at music competitions, he has played percussion withEnsemble Recherchesince 1988 andTrio Accantosince 1994 together with Nic Hodges and Marcus Weiss. In addition he has been professor of percussion and contemporary chamber music at the Basel Academy of Music since 2001.

Michel Roth is professor of composition and music theatre at the Basel Academy of Music and a member of its research department. As a composer he is a regular guest at music festivals, recently with a focus on music theatre. In 2017 Barenreiter published hisTechniques of Trombone Playingco-written with Mike Svoboda. This was awarded theBest Editionprize by the German Music Publishers Association in 2018.

Jens Ruland studied percussion with Carlos Tarcha at the Cologne University of Music (2007-12) where he completed his performance and teaching degree with distinction. Since 2012 he has consolidated his studies with Christian Dierstein in Basel. He is a founding member ofhand werk(Cologne),232 percussion(Cologne),Ensem ble New4Art(Switzerland) and the music theatre duoAkt-tkA(Spain and Switzerland).

SKU: BA.BVK01950

ISBN 9783761819500. 19 x 12.5 cm inches. Language: German. Preface: Tarkmann, Andreas N.

Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.

As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.

The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.

The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.

It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany.

This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.

The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.

- New source situation owing to recently rediscovered proofs
- Revised Urtext edition
- With a separate booklet on performance practice (Eng/Ger).

SKU: UT.APS-9

ISBN 9788881095001. 6.5 x 9.5 inches.

Saggi di Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Wilhelm Seidel, Bernhold Schmid, Christian Speck, Glenn Stanley, Andreas Traub, Reinhard Wiesend


Mu sical composition is always related to the work's realisation in sound. A written form is required in order to give shape to the compositional intention. Consequently it is text, the musical text, which mediates between the act of composition and the performance. The object of the musical edition is to prepare the text so that the will of the composer is presented to the musicians in a way that allows the composition to become realised musically. The edition thus inevitably establishes a conflict between divergent orientations, such as between science and practice, preservation and actualization, as well as textual criticism and hermeneutics. Because his editorial decisions are fundamentally interpretive the editor must know and understand the historical and hermeneutical problems of his subject, especially when it comes to determining what stage of the work is to be presented. The editing of music is not always restricted to mediation; it may also represent a translation.
The present collection of essays -- all but one, in German -- is a Festschrift for Petra Weber's 60th birthday. It combines contributions on music and music editing by Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Bernhold Schmid, Wilhelm Seidel, Glenn Stanley, Andreas Traub, and Reinhard Wiesend. Among the composers treated, Ludwig van Beethoven will occupy a prominent place. Special consideration will also given to Didier Lupi, Francesco Cavalli, Johann Sebastian Bach, Johann Adolf Hasse, Franz Schubert, Giovanni Simone Mayr, Ferruccio Busoni, Carl Orff, and Sandor Veress.