Matériel : Conducteur et Parties séparées
SKU: BR.OB-14560-15
ISBN 9790004335727. 10 x 12.5 inches.
Beethoven's autographs of the first three piano concertos opp. 15, 19 and 37 are the earliest of all orchestral scores which have survived integrally. Thanks to source studies, we know today that a first version of the Concerto in Bb major op. 19 had already originated in Bonn in 1790 at the latest. It was followed by a second version written in Vienna most likely in 1793 which included the Rondo in Bb major WoO 6 as finale. A third version followed most probably in 1794 and led to the fourth and final version, written in Prague in October 1798, as Beethoven sojourned there at the beginning of the concert season. (from the Preface)This autograph together with the autograph solo part which was made at the beginning of 1801 and the parts printed in the same year, are the main sources of the present edition.
SKU: HL.14048209
ISBN 9780486426662. 9.0x12.0x0.45 inches.
Original Dover compilation of the Piano Concertos, Op.15 and Op.23, originally published separately by Breitkopf and Hartel. Glittering keyboard displays, surging emotional appeal, and a grand heroice manner characterize these two popular late 19th century works by a man once considered by preeminent American composer, Virgil Thomson, as our nearest to a great master before Charles Ives.
SKU: BR.OB-14560-30
ISBN 9790004335772. 10 x 12.5 inches.
SKU: BR.OB-14560-16
ISBN 9790004335734. 10 x 12.5 inches.
SKU: BR.PB-14560
The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.
ISBN 9790004211014. 10 x 12.5 inches.
SKU: BR.OB-14560-27
ISBN 9790004335765. 10 x 12.5 inches.
SKU: HL.50086410
UPC: 884088238643. 5.25x7.5x1.16 inches.
Contents: Piano Concerto No. 1, Op. 15 * Piano Concerto No. 2, Op. 19 * Piano Concerto No. 3, Op. 37 * Piano Concerto No. 4, Op. 58 * Piano Concerto No. 5 in E-flat Major (Emperor).
SKU: MA.EMR-56140
1. Venezia / 2. Oriental Pictures / 3. Showtime / 4. Discover / 5. Espana.
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldi”, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertos”. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-editio n.com.
SKU: BR.OB-3210-27
ISBN 9790004300732. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.
SKU: BA.BA10936
ISBN 9790006567287. 31 x 24.3 cm inches. Preface: Walden, Valerie.
Robert Lindley (1776–1855) was the premier cellist in England for more than 50 years. In 1822 he became the first professor of cello at the Royal Academy of Music in London, where he remained until his retirement in 1851. Lindley, an esteemed and much sought-after teacher, wrote not only the present “Capriccios” but also a cello method, several concertos, and chamber music in which the cello is prominently featured.The “Capriccios and Exercises” contain a multitude of fingering patterns in related major and minor harmonies, exercises for the thumb position and many passages of double stops, all within a melodious framework. Barenreiter’s scholarly performing edition is edited by Valerie Walden, offering cellists and teachers outstanding new material for use in lessons.
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: BR.OB-5213-03
,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)
ISBN 9790004330968. 9 x 12 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik),I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).
SKU: BR.OB-3210-15
ISBN 9790004300695. 10 x 12.5 inches.
SKU: BR.OB-3210-23
ISBN 9790004300725. 10 x 12.5 inches.
SKU: BR.OB-5213-17
ISBN 9790004331002. 9 x 12 inches.
SKU: BR.OB-3210-19
ISBN 9790004300718. 10 x 12.5 inches.
SKU: BR.PB-5383
ISBN 9790004209998. 9 x 12 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).
SKU: BR.OB-3210-30
ISBN 9790004300749. 10 x 12.5 inches.
SKU: BR.OB-5212-03
ISBN 9790004330883. 9 x 12 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.
SKU: BR.OB-3210-16
ISBN 9790004300701. 10 x 12.5 inches.
SKU: BR.EOS-1221-16
ISBN 9790004786000. 9 x 12 inches.
SKU: HL.49005286
ISBN 9790001056823. 9.0x12.0x0.056 inches.