Partitions de Breitkopf & Härtel

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Choeur

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Alto

Les 32 pages de ce recueil vont vous faire apprécier la partition Kantate 14 Wär Gott nicht mit du célèbre compositeur Bach Johann Sebastian qui fait partie de la catégorie des partitions Classique. Cette partition imprimée par les éditions Breitkopf est répertoriée sous la référence EB 7014. Passionnés de Classique et joueurs de Chant/Vocal/Choeur et plus précisément de Soliste, Choeur Mixte Et Orchestre il ne vous reste plus qu'à travailler pour pouvoir jouer le morceau que vous avez toujours rêvé de jouer. / Soliste, Choeur Mixte Et Orchestre / 32 pages / Partition

Par BRAHMS JOHANNES. Johannes Brahms' 16 Waltzes Op. 39 for Piano. Breitkopf Urtext after the Brahms Complete Edition of the ‘Gesellschaft der Musikfreunde’ in Vienna./ Répertoire / Piano 4 Mains

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Conducteur

Au printemps 2012, les ' Partitions de pocheBreitkopf ' peuvent surenchérir en sortantles éditions Urtext de deux concertos solo quiont représenté au 19e siècle une contributioncapitale au genre concert instrumental et quise retrouvent aujourd'hui en tête de liste durépertoire. Avec la parution de la petite partitionbleue, la palette des oeuvres en partena-riat avec la maison G. Henle Verlag est ànouveau enrichie : édition pour instrumentsolo et piano chez Henle - conducteur, partiesd'orchestre et partition de poche chez Breitkopf / Violon Et Orchestre

Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Conducteur

Missa Dei Patris in C major ZWV 19 Breitkopf Urtext edited by Paul Horn and Reinhold Kubik [solos,mix ch,orch] 70' solos: SATB ' choir: SATB ' 0.2.0.1. ' 0.0.0.0. ' str ' bc The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae. The musical text of the present conductors score is based on that of Volume 93 of the Denkmäler edition Das Erbe deutscher Musik. The new piano-vocal score has been edited by the reputable expert Andreas Köhs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting' I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)

Mendelssohn Bartholdy: Symphony No. 4 in A major 'Italian' (Version 1833) Urtext based on the Leipzig Mendelssohn Complete Edition (Series I Vol. 6) by Thomas Schmidt-Beste 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 as a pre-print from the Complete Edition.

Pergolesi, Giovanni Battista (1710-1736) Septem verba a Christo in cruce moriente prolata Breitkopf Urtext [solos, orch] solos: SATB - 0.0.0.0. - 2.1.0.0. - hp - org - str: 1.1.2(obl.).1.1.

Saint-Saëns: Havanaise in E major Op. 83 Breitkopf Urtext - ed. by Christiane Strucken-Paland - in cooperation with G. Henle Verlag A Cuban Dance from France The ?Havanaise? possibly has its roots in the friendship of the composer with the Cuban-born violinist Rafael Diaz Albertini. It is thus perfectly plausible that Saint-Saëns borrowed the Cuban syncopated slow dance Habanera out of kindness towards his performance partner when he was getting ready to write a work for Diaz Albertini in 1887. Saint-Saëns originally wrote a version for violin and piano, which was later followed by the orchestral version that the publisher Durand had urged him to write. Diaz Albertini, to whom the work was dedicated, gave its world premiere before other virtuosos adopted it for themselves and spread its fame throughout the world. The basis of this first Urtext edition of the piece is the first edition, which was presumably personally overseen by Saint-Saëns.

33 Stücke für Klavier zu vier Händen. Par PROKSCH MICHAEL. / Date parution : 2022-06-08/ Répertoire / Piano 4 Mains