The Unanswered Question

SKU: BR.BV-392

ISBN 9783765103926. 8.5 x 11.5 inches. German.

The subject of music theory is taught at many places: music schools, conservatories, continuing-education seminars for laymen... Up to now, however, there has been no didactically perfected yet thoroughly comprehensive concept. Wieland Ziegenrucker, whose pedagogical classic ABC Musik Allgemeine Musiklehre has confirmed his expertise with the material, has coordinated his Praktische Musiklehre with the syllabi of the Verband deutscher Musikschulen (VdM) and tested it extensively in the classroom. Ziegenrucker places great importance on aural training and consistently incorporates it into his method from the very start. This is why the three books of the Praktische Musiklehre each contain a CD. Books 2 and 3 take the music-theory method all the way to simple song harmonizations, which corresponds to an intermediate level in the VdM's syllabus. In summer 2010, the Losungen, or answers, to all basic and supplementary exercises which had previously been available online, are also published in printed form. The only exercises for which there are no answers are those in which the curriculum is formally tested by having the student write (measure) numbers or letters, or exercises requiring personal rhythmic or melodic creativity. Everything else can be found in the Losungen, even suggestions or improvements for exercises for which there can be several correct results. Incidentally, tests for the material treated in the books and for ear-training are available for download at the respective books. With the new Praktische Musiklehre, unanswered questions will now be a thing of the past.

SKU: BR.BV-391

ISBN 9783765103919. 8.5 x 11.5 inches. German.

The subject of music theory is taught at many places: music schools, conservatories, continuing-education seminars for laymen... Up to now, however, there has been no didactically perfected yet thoroughly comprehensive concept. Wieland Ziegenrucker, whose pedagogical classic ABC Musik Allgemeine Musiklehre has confirmed his expertise with the material, has coordinated his Praktische Musiklehre with the syllabi of the Verband deutscher Musikschulen (VdM) and tested it extensively in the classroom. Ziegenrucker places great importance on aural training and consistently incorporates it into his method from the very start. This is why the three books of the Praktische Musiklehre each contain a CD. Books 2 and 3 take the music-theory method all the way to simple song harmonizations, which corresponds to an intermediate level in the VdM's syllabus. In summer 2010, the Losungen, or answers, to all basic and supplementary exercises which had previously been available online, are also published in printed form. The only exercises for which there are no answers are those in which the curriculum is formally tested by having the student write (measure) numbers or letters, or exercises requiring personal rhythmic or melodic creativity. Everything else can be found in the Losungen, even suggestions or improvements for exercises for which there can be several correct results. Incidentally, tests for the material treated in the books and for ear-training are available for download at the respective books. With the new Praktische Musiklehre, unanswered questions will now be a thing of the past.

SKU: BR.OB-4618-26

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-26. Published by Breitkopf and Haertel (BR.OB-4618-26).

ISBN 9790004341568. 9 x 12 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.BV-393

ISBN 9783765103933. 8.5 x 11.5 inches. German.

The subject of music theory is taught at many places: music schools, conservatories, continuing-education seminars for laymen... Up to now, however, there has been no didactically perfected yet thoroughly comprehensive concept. Wieland Ziegenrucker, whose pedagogical classic ABC Musik Allgemeine Musiklehre has confirmed his expertise with the material, has coordinated his Praktische Musiklehre with the syllabi of the Verband deutscher Musikschulen (VdM) and tested it extensively in the classroom. Ziegenrucker places great importance on aural training and consistently incorporates it into his method from the very start. This is why the three books of the Praktische Musiklehre each contain a CD. Books 2 and 3 take the music-theory method all the way to simple song harmonizations, which corresponds to an intermediate level in the VdM's syllabus. In summer 2010, the Losungen, or answers, to all basic and supplementary exercises which had previously been available online, are also published in printed form. The only exercises for which there are no answers are those in which the curriculum is formally tested by having the student write (measure) numbers or letters, or exercises requiring personal rhythmic or melodic creativity. Everything else can be found in the Losungen, even suggestions or improvements for exercises for which there can be several correct results. Incidentally, tests for the material treated in the books and for ear-training are available for download at the respective books. With the new Praktische Musiklehre, unanswered questions will now be a thing of the past.

SKU: BR.OB-4618-16

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-16. Published by Breitkopf and Haertel (BR.OB-4618-16).

ISBN 9790004341544. 9 x 12 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.OB-4618-15

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-15. Published by Breitkopf and Haertel (BR.OB-4618-15).

ISBN 9790004341537. 9 x 12 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.OB-4618-30

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Set of parts. 30 pages. Duration 8'. Breitkopf and Haertel #OB 4618-30. Published by Breitkopf and Haertel (BR.OB-4618-30).

ISBN 9790004341575. 9 x 12 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.OB-4618-19

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Part. 2 pages. Duration 8'. Breitkopf and Haertel #OB 4618-19. Published by Breitkopf and Haertel (BR.OB-4618-19).

ISBN 9790004341551. 9 x 12 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.PB-4618

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Full score. 20 pages. Duration 8'. Breitkopf and Haertel #PB 4618. Published by Breitkopf and Haertel (BR.PB-4618).

ISBN 9790004214794. 10 x 12.5 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.CHB-4618-02

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Choral score. 4 pages. Duration 8'. Breitkopf and Haertel #ChB 4618-02. Published by Breitkopf and Haertel (BR.CHB-4618-02).

ISBN 9790004407073. 7.5 x 10.5 inches. German / English.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.OB-4618-11

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

Have a look. Motet; Baroque. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 4618-11. Published by Breitkopf and Haertel (BR.OB-4618-11).

ISBN 9790004341520. 12 x 9 inches.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

SKU: BR.EB-7118

ISBN 9790004172728. 7.5 x 10.5 inches. German / English.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments. Both versions are printed consecutively. Of particular interest for an authentic performance are two Litui, which are called for in both versions. To this day it has been impossible to determine what instruments are meant here: high horns in B flat? Or trumpets? The work has more unanswered questions for us for example, the occasion for which the first version was written in ca. 1736/37, and the reason why the work was newly orchestrated after 1740.

The new edition of BWV 118 presents the work in the two different instrumental settings that are authenticated through the autograph scores: the earlier version with solely brass instruments, and the later one with mixed instruments.

SKU: BR.PB-5354

Bach's manuscript leaves several questions unanswered.

ISBN 9790004211533. 9 x 12 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

Bac h's manuscript leaves several questions unanswered.

SKU: BR.OB-5354-12

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337820. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: BR.OB-5354-19

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337851. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: BR.OB-5354-15

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337837. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: BR.OB-5354-16

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337844. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: BR.OB-5641-23

ISBN 9790004348819. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.

SKU: BR.PB-5671

ISBN 9790004216088. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.

SKU: BR.OB-5641-16

ISBN 9790004348796. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.

SKU: BR.PB-5641

ISBN 9790004215388. 10.5 x 14 inches.

The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.