SKU: BR.CHB-4641-02
ISBN 9790004407301. 7.5 x 10.5 inches.
Work attributions have a way of maintaining themselves in the collective mind for a long time. Take the cantata Das ist je gewisslich wahr, for instance, which was listed in Johann Gottlob Immanuel Breitkopf's catalogue of musical prints and manuscripts as a work by J. S. Bach in 1761 and sent out into the world propagating this error. Up into the mid 19th century, copies of the score were made under Bach's name, and the work was also given a BWV number (141) after it was incorporated in the Complete Edition of the Bach-Gesellschaft. Experts ultimately raised doubts about Bach's authorship, grappled with it and finally uncovered its true composer, Georg PhilippTelemann. The evidence - contemporary copies of parts by Telemann's copyists and a reliable printing of the text which assigns the work to the Hamburg cantata cycle 1723 - leaves no room for doubt: this work is genuine Telemann!
SKU: BR.KM-2229
World premiere: Frankfurt (Main), November 23, 1986
ISBN 9790004501351. 9 x 12 inches.
Mein 2. Streichquartett Le jardin suspendu (Der hangende Garten) eroffnete den Reigen mehrerer um das gleiche Tonmaterial schweigender Stucke: Der Ton cis, der aus der Tiefe bis zum hochsten Diskant aufsteigt, bildet die wie ein Magnet wirksame Zentrale harmonisch-klangfarblichen Gestaltens. Auf ein in dramatischem Duktus gehaltenes Klangstruktur-Thema antwortet eine gregorianisch anmutende Urformel, aus der sich eine Art 2. Thema herausschalt, das im Durchfuhrungsmittelteil wieder zu seinem pentatonischen Kern zusammenschrumpft, jetzt aber sich polytempisch - im Sinne von Visionen, aber auch Halluzinationen - als Formel darstellt, die von inneren (virtuellen) Bedrohungen erzahlt , die zum Ende hin ins Uberirdische sich zu verandern sucht.(Theo Brandmuller)World premiere: Frankfurt am Main, November 23, 1986.
SKU: BR.MN-9596
ISBN 9790004790656. 8.5 x 11.5 inches.
Die Introduktion hat experimentellen Charakter in der Anwendung neuer Klarinettentechniken. Sie ist in ihrer 4-teiligen Form quasi eine Vorausnahme des folgenden Rondos, das inspiriert ist von einem haydnschen Fugato. Die lyrisch meditative Elegie steht im Kontrast zu Introduktion und Rondo sowie zum raschen Schlusssatz Rhythmen mit seinen haufig wechselnden Metren.
SKU: BR.MN-9713A
ISBN 9790004790847. 8.5 x 11.5 inches.
SKU: BR.OB-32034-26
ISBN 9790004350935. 10 x 12.5 inches.
The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.
SKU: BR.OB-5371-26
ISBN 9790004337264. 10 x 12.5 inches.
For the Urtext edition of the three great Mozart Violin Concertos K. 216, 218 and 219, three high-caliber experts came together: Mozart scholar Cliff Eisen as editor, internationally renowned concertmaster and conductor Andrew Manze as the author of stylistically authentic and brilliantly virtuoso cadenzas, and Werner Breig as the creator of the transparent piano reduction that wonderfully suite every accompanists fingers.The new editions are based on Eisens competent, well-grounded source evaluation. His decisions always do justice to the requirements of historical performance practice and occsionally yield some rather extraordinary results.
SKU: BR.EOS-1878-12
ISBN 9790004788929. 8.5 x 11.5 inches.
SKU: BR.OB-4699-26
ISBN 9790004319147. 9 x 12 inches.
SKU: BR.EOS-20472-23
Today, it is hard to believe that Bedrich Smetana kept receiving rejections when he tried to get his enormously popular Moldau printed.
ISBN 9790004184981. 10 x 12.5 inches.
What is also amazing is that the first text-critical edition prepared by the Czech Smetana expert Milan Pospisil in 1999, which had entailed an exhaustive evaluation of the sources and been given a full text-critical editorial treatment as a Eulenburg study score, had no resonance of any kind among performers since no performance material had been published. After 15 years, Pospisils edition is finally being completed in a manner suitable for practice: with a conducting score and orchestral parts which will ensure that all future performances are based on a musical text that is as reliable as can be.
The work depicts the course of the river Vltava, beginning with its first two sources, the cold and warm Vltava, and the confluence of the two streams that join to form a single river; then the course of the Vltava through forests and meadows, and through open countryside where a peasant wedding is being celebrated; water-sprites dance by the light of the moon; on the nearby cliffs castles, mansions and ruins rise proudly into the air; the Vltava eddies in the St John's Rapids, then flows in a broad stream as it continues its course towards Prague, where the Vysehrad appears, before the river finally disappears into the distance as it flows majestically into the Elbe.Vltava (The Moldau), Smetana's best-known and most frequently performed orchestral work, was written between 19 November and 8 December 1874, at a time when Smetana was already completely deaf. The world premiere took place in Prague on 4 April 1875, but the score was not published until 1880.
SKU: BR.PB-14613
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214886. 10 x 12.5 inches.
The Eroica according to the Complete EditionExploring the Eroica is the name of the essay with which the editor made herself known back in 1998 and which contributed decisively to the research into the complex transmission. Written in 1803, the autograph of the work is lost today. The title Sinfonia Eroica is already found in the first edition (but only there as well). The main source of the edition is the copy of the score, which was carefully examined and emended by Beethoven, and into which he made corrections even after the appearance of the first printed set of parts. In addition, the copies of the parts used for first performances (before publication) as well as the extremely error-filled first edition of the instrumental parts are also relevant; more so, however, is another printed set that Beethoven personally revised. Thanks to the new performance material, the musical text of the new Beethoven Complete Edition can now also be heard alternatively to the Breitkopf Urtext edition by Peter Hauschild (PB/OB 5233).
SKU: BR.CHB-3539-02
ISBN 9790004404706. 7.5 x 10.5 inches.
Motets (BWV 118, 225-231) account for a rather small work group within the great number of sacred vocal works composed by Johann Sebastian Bach. Only six motets have survived; their most striking feature being their mostly double-chorus texture, often without a verifiable instrumental or continuo accompaniment. They were presumably written at the beginning of Bach's time in Leipzig, i.e. after 1723.The present work, Lobet den Herrn, alle Heiden, is one of only two motets by Bach in which the entire text comes from the Bible, in this case the two verses of Psalm 117.Performance editions of all other sacred vocal works by Johann Sebastian Bach are also available at Breitkopf & Hartel.
SKU: BR.OB-5287-15
The edition, prepared by Thomas Fritzsch, is based on the sole authentic source, a 19th-century copy.
ISBN 9790004333204. 9 x 12 inches.
It was long overdue: a complete, source-critical new edition of this ever popular Boccherini Concerto. The edition, prepared by Thomas Fritzsch, is based on the sole authentic source, a 19th-century copy. All preceding manuscripts are lost. Still available, however, is Friedrich Grutzmacher's pioneer edition (EB 3596, PB/OB 3842), which features a middle movement (the Adagio in G minor) originally found in the Violoncello Concerto in G major No. 7.The edition, prepared by Thomas Fritzsch, is based on the sole authentic source, a 19th-century copy.
SKU: BR.OB-4489-26
ISBN 9790004311813. 10 x 12.5 inches.
SKU: BR.MN-9147
ISBN 9790004790335. 9 x 12 inches.
Ernst Widmer konnte die Arbeit an diesen Stucken nicht mehr abschliessen. Nur die Stucke ,,Rondo und ,,Con Brio hat der Komponist selbst vollendet. Der Herausgeber, Han Jonkers, brachte in Zusammenarbeit mit der Pianistin Emmy Henz-Diemand die Skizzen in eine definitive Fassung. Die originalen Noten sind immer unterhalb der Spielfassung eingetragen. Die ,,Funf Stucke fur Gitarre sind sehr frei zu spielen. Ein wichtiges kompositorisches Element ist das zufallige Klingen von leeren Saiten, welches hier nicht abgedampft werden soll.
SKU: BR.PB-5098
ISBN 9790004208496. 10 x 12.5 inches.
A worthwile addition to a choral director's library. (Henry Howell, Australian Music Teacher).
SKU: BR.SON-409
ISBN 9790004802366. 10 x 12.5 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller.
SKU: BR.OB-4667-15
ISBN 9790004318201. 9 x 12 inches.
SKU: BR.EB-9266
World premiere: Vienna, Arnold Schoenberg Center, May 3, 2018 (Asasello-Quartet)
ISBN 9790004185667. 0 x 0 inches.
World premiere: Vienna, Arnold Schoenberg Center, May 3, 2018 (Asasello-Quartet).
SKU: BR.EB-7153
ISBN 9790004173077. 7.5 x 10.5 inches.
SKU: BR.CHB-4713-02
In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised.
ISBN 9790004407936. 7.5 x 10.5 inches. German / French.
In our new edition of this often performed work, many details pertaining to performance-practical matters have been revised. It is known that Bach reused the music of Cantata BWV 213 in his Christmas Oratorio and, as Hans Gruss convincingly explains, paid close attention to the preparation of the performance material in light of the repeated use of the new work. The final version of the cantata is recognizable in the parts of the Christmas Oratorio, states Gruss. The specifics of the later revision can thus be retraced. They have also entailed a number of editorial consequences which cast a new light on the Cantata BWV 213.
SKU: BR.OB-5562-26
The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.
Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-26. Published by Breitkopf and Haertel (BR.OB-5562-26).
ISBN 9790004342312. 10 x 12.5 inches.
The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).
SKU: BR.OB-4553-30
ISBN 9790004314623. 10 x 12.5 inches.
SKU: BR.CHB-3572-02
ISBN 9790004404997. 7.5 x 10.5 inches.
SKU: BR.OB-4668-19
ISBN 9790004318287. 9 x 12 inches.
SKU: BR.BG-1061
ISBN 9790004121627. 9 x 12 inches.
SKU: BR.KM-2408
World premiere: Bern, June 8, 1988
ISBN 9790004501801. 11 x 15 inches.
Der Titel ,,...kaum einen Hauch bezieht sich auf das Gedicht ,,Ein Gleiches von Goethe.Uber allen Gipfeln Ist Ruh, In allen Wipfeln Spurest du Kaum einen Hauch; Die Voglein schweigen im Walde. Warte nur, balde Ruhest du auch.Die Musik reagiert auf die Textvorlage 1. beschreibend 2. hinterfragend 3. eingreifend/umdeutendDies geschieht nicht geradlinig, zielstrebig, sondern als ein immer wieder unterbrochener Prozess. Es entsteht so etwas wie eine verschachtelte Bogenform. Wiederholung ist dabei eher trennendes als verbindendes Moment. Erst nach und nach gibt sich das Stuck als zusammenhangender Prozess der Annaherung an das Goethe-Gedicht und als ein Versuch einer Neu-Interpretation zu erkennen. (Jorg Birkenkotter)CD:Ensemble SicCD Disque Van d'uvre 9508, Semantic 860.
SKU: BR.OB-4440-19
ISBN 9790004309377. 10 x 12.5 inches.
SKU: BR.EB-9272
World premiere: Witten, April 28, 2018Commissioned by WDR for the Wittener Tage fur neue Kammermusik
ISBN 9790004185728. 9 x 12 inches.
Over the years, I wanted to write a version for two pianos, and now the time had come: Im Lichte II subjects Im Lichte for two pianos and orchestra, the original work now over ten years old, to a critical examination and detailed reworking. I found it extremely exciting to identify and analyze what I have gained since then and what I lost. (Johannes Maria Staud)World premiere: Witten, April 28, 2018 Commissioned by WDR for the Wittener Tage fur neue Kammermusik.
