SKU: BA.BA11024
ISBN 9790006542369. 34 x 27 cm inches.
This one-movement piece with a duration of 11 minutes stems from the estate of Giselher Klebe who died in 2009. The work is delightful to play, rich in gesture, easy on the ear and ideal for private music making. Moreover it constitutes a valuable addition to the repertoire for violin, clarinet and piano, an appealing combination of instruments, for which composers such as Ives, Bartók, A. Berg und Krenek composed works of standing during the 20th century.
SKU: BA.BA02623-52
ISBN 9790006423446.
Prin t on demand (POD).
SKU: BA.BA06173
ISBN 9790006476404. 34 x 27.1 cm inches. Text: Selma Lagerlof.
SKU: BA.BA10012-74
ISBN 9790006503100. 32.5 x 25.5 cm inches. Text: Salomo Franck.
Study score = TP 1012.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composerâ€℠s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.BA07676-74
ISBN 9790006526284. 30 x 23 cm inches.
SKU: BA.BA11203-51
ISBN 9790006529728. 30 x 23.2 cm inches.
SKU: BA.BA10977-85
ISBN 9790006562534. 32.5 x 25.5 cm inches. Key: G major.
Urtext from the Henle Complete Edition of the Works of Joseph Haydn.
SKU: BA.BA01015-27
ISBN 9790006407514. 29 x 21 cm inches.
Print on demand (POD).
SKU: BA.BA04717-75
ISBN 9790006453894. 32.5 x 25.5 cm inches. Key: D major.
SKU: BA.BA05208-82
ISBN 9790006503711. 32.5 x 25.5 cm inches. Key: E-flat major.
SKU: BA.BA02900-74
ISBN 9790006427079. 27 x 19 cm inches.
SKU: BA.BA08266-22
ISBN 9790006507344. 35 x 27.5 cm inches.
World Premiere 12/02/2001, Zurich.
SKU: BA.BVK20302-82
24 x 17 cm inches. Language: German. Preface: Brödel, Christfried.
SKU: BA.BA06413
ISBN 9790006502851. 30 x 23 cm inches.
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
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
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
SKU: BA.BA01730
ISBN 9790006413447. 27 x 19 cm inches.
SKU: BA.BA09030-40
ISBN 9790006566655. 24 x 17 cm inches. Key: B-flat major.
SKU: BA.BA03715
ISBN 9790006438778. 30 x 23 cm inches. Key: F major.
Piano reduction to the performance material BA 2677.
SKU: BA.BA06489
ISBN 9790006480067. 30 x 23 cm inches.
SKU: BA.BVK02291
ISBN 9783761822913. 24 x 16 cm inches. Language: German. Preface: Gernot Gruber.
Replaces BVK 2123.
SKU: BA.BVK01776
ISBN 9783761817766. 21.2 x 15.3 cm inches.
SKU: BA.BVK02139
ISBN 9783761821398. 24.5 x 17 cm inches. Text Language: German, French, Italian. Preface: Sabine Brier.
SKU: BA.BA25002
ISBN 9790006567966. 29.8 x 20.9 cm inches. Language: German.
Separate edition from BA 5901, „Geistliche Chor-Music“ SWV 369-380, The five-part motets, Nos. 1-12:In 1648 Heinrich Schütz published a collection of 29 motets with five to seven parts titled “Geistliche Chor-Music†(Sacred Choir Music). Here, the term “Chor†(choir) refers not only to a (large) vocal ensemble but, more generally, to a group of musicians, vocal or instrumental. As explained by Schütz in the foreword he published with the collection, all parts of the motets can be performed vocally and/or instrumentally.
SKU: BA.BA06345
ISBN 9790006478453. 27 x 18.9 cm inches.
Leichte Satze zu Choralen und Liedern, liturgische Kanons zeitgenossischer Komponisten fur 1- bis 3stimmigen Kinderchor und beliebige Instrumente (teilweise ad lib.).
SKU: BA.BVK02191
ISBN 9783761821916. 19 x 12.4 cm inches. Language: German. Preface: Christoph Flamm.
By Christoph Flamm. Paperback. Baerenreiter Werkeinfuhrungen. Book. Language: German. Size 19 x 12.4 cm. 185 pages pages. Published by Barenreiter. (BVK2191).
SKU: BA.BVK01443
ISBN 9783761814437. 20.9 x 14.8 cm inches.
Interdiszip linare wissenschaftliche konferenz wahrend der Handel-Festspiele 2002 in Halle (Saale): Musik und Theater als Medien hofischer Representation. 10. bis 12. Juni im Handel-Haus.
SKU: BA.BA01715-85
ISBN 9790006413195. 27 x 19 cm inches.
SKU: BA.BA07814-01
ISBN 9790006498161. 33 x 26 cm inches. Text Language: French, German. Preface: Christin Wollmann.
Continuo realization: Wolfgang Hirschmann.