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PIANO & KEYBOARDS
1 Piano, 4 hands
65
1 Piano, 6 hands
1
2 Pianos, 3 hands
1
2 Pianos, 4 hands
71
3 Pianos
2
Flute, Harp en Piano
1
Harpsichord
86
Harpsichord and Strings
8
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56
Organ
938
Organ and Orchestra
35
Organ, Percussion
2
Organ, Piano (duet)
6
Piano Accompaniment
2
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253
Piano Quartet: piano, violin, viola, cello
13
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1
Piano Quintet: piano, 2 violins, viola, cello
14
Piano Quintet: piano, violin, viola, cello, double bass
2
Piano solo
1037
Piano Trio: mixed chamber instrumentation
2
Piano Trio: piano, violin, cello
51
Piano Trio: Violin, Viola, Piano
1
Piano, Vocal and Guitar
2
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161
Solo instrument and Organ
12
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26
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13
4 Guitars (Quartet)
9
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1
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12
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139
Guitar Ensemble
3
Guitar, String Quartet
1
Mandolin, Guitar (duet)
1
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2
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2
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1
Voice, Guitar
2
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Baritone voice
2
Baritone voice, Piano
17
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1
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2
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235
Choral 2-part
7
Choral 3-part
53
Choral SATB
757
Choral SATTBB A Cappella
1
Choral Soprano solo, SATB, Keyboard
2
Choral SSAA
17
Choral SSAATB A Cappella
1
Choral SSAATBB, Organ
2
Choral SSAATTBB
23
Choral SSAB a cappella
1
Choral SSATB
48
Choral SSATBB
8
Choral SSATTB
2
Choral SSATTBB
2
Choral TTBB
108
Choral, Orchestra
60
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4
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16
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54
Libretto
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23
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8
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49
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5
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77
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3
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3
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161
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3
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1
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27
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21
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1
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2
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2
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15
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31
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6
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1
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1
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1
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1
2 Recorders (duet)
30
2 Recorders, Basso continuo (trio)
7
2 Recorders, Piano
1
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1
3 Clarinets (trio)
6
3 Recorders (trio)
5
4 Oboes
2
5 Recorders
1
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6
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4
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3
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13
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9
Clarinet
23
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33
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2
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1
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1
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2
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3
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12
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1
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11
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4
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7
English Horn
4
Flute
103
Flute and Guitar
12
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68
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1
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8
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7
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9
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24
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2
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7
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1
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1
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1
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1
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25
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1
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1
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2
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4
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10
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2
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1
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4
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2
Oboe
44
Oboe and Orchestra
8
Oboe, Basso continuo
6
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1
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1
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1
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2
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11
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2
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2
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16
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4
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23
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2
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8
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7
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2
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2
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1
Soli, Mixted choir and accompaniment
623
Tenor Recorder
1
Treble (Alto) Recorder
14
Treble (Alto) Recorder, Basso continuo
9
Treble (Alto) Recorder, Piano
4
Violin, Clarinet, Piano (trio)
1
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3
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2
Woodwind Quintet
2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
20
BRASS
2 French horns (duet)
1
3 French horns (trio)
1
Brass ensemble, Organ
2
Brass Quartet: 4 trombones
1
Brass Quintet: 2 trumpets, horn, trombone, tuba
5
French horn
10
French Horn and Piano
10
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25
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1
Organ and Brass Quartet
1
Organ, Trumpet (duet)
6
Trombone
8
Trombone and Orchestra
2
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2
Trumpet
12
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3
Trumpet, Piano
10
Tuba
4
PERCUSSIONS
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1
Drums
7
Percussion
6
Percussion Ensemble
2
Vibraphone, Marimba and Cello
1
STRINGS
2 Cellos (duet)
21
2 Cellos, Piano
3
2 Violas (duet)
1
2 Violas, Piano
1
2 Violins (duet)
24
2 Violins and Basso
24
2 Violins, Piano
6
4 Cellos
2
Accordion, String(s)
1
Cello
184
Cello (band part)
1
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1
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1
Cello, Orchestra
58
Cello, Organ
2
Cello, Piano
116
Cello, String Bass (duet)
14
Chamber Orchestra
23
Clarinet and Strings
2
Clarinet Quintet: Clarinet, String Quartet
2
Clarinet, Cello, Piano (trio)
3
Clarinette, Viola and Piano (trio)
1
Double Bass
72
Double bass, Piano (duet)
8
Doublebass (band part)
1
Flute and Strings Trio
1
Flute Quartet: Flute, Violin, Viola, Cello
7
Flute, Cello, Piano (trio)
2
Flute, Oboe, Violin, Violoncello, Basso continuo (Quartet)
1
Flute, Viola and Cello
1
Flute, Violin
2
Flute, Violin and Violoncello
4
Flute, Violin, Keyboard (basso continuo)
10
Flute, Violin, Piano
2
Flute, Violin, Viola
1
Flute, Violin, Violoncello and Piano
4
Flute, Violoncello
2
Guitar, String Quartet
1
Harp
24
Harp and Piano
1
Harp, Cello (duet)
1
Harp, Orchestra
5
Harpsichord and Strings
8
Horn, Violin, 2 Violas and Cello
1
Oboe, Violin, Piano
2
Oboe, Violin, Viola and Violoncello (Quartet)
2
Piano Quartet: piano, violin, viola, cello
13
Piano Quintet: piano, 2 violins, viola, cello
14
Piano Quintet: piano, violin, viola, cello, double bass
2
Piano Trio: piano, violin, cello
51
Piano Trio: Violin, Viola, Piano
1
String Orchestra
58
String Quartet: 2 violins, viola, cello
338
String quartet: 4 violins
1
String quintet
5
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
2
String Quintet: 2 violins, 2 violas, cello
4
String Quintet: 2 violins, viola, 2 cellos
1
String Quintet: 2 violins, viola, cello, bass
8
String trio
4
String Trio: 2 violins, cello
6
String Trio: 2 violins, viola
4
String Trio: 3 violins
5
String Trio: violin, viola, cello
20
Vibraphone, Marimba and Cello
1
Viola
268
Viola (band part)
1
Viola and orchestra
4
Viola da Gamba
3
Viola da Gamba, Basso continuo
2
Viola da Gamba, Harpsichord
1
Viola, Cello (duet)
2
Viola, Guitar (duet)
2
Viola, Organ
3
Viola, Piano
55
Violin
387
Violin (band part)
4
Violin and Piano
280
Violin, Basso continuo
19
Violin, Cello (duet)
15
Violin, Cello, Organ
1
Violin, Clarinet, Piano (trio)
1
Violin, Guitar (duet)
1
Violin, Horn and Piano
3
Violin, Organ
6
Violin, Viola (duet)
10
Violin, Viola and Orchestra
2
Violin, Violoncello and Doublebass
1
Violoncello, Basso continuo
14
FOLK
2 Accordions
1
Accordion
21
Accordion, String(s)
1
Guitar, Orchestra
2
Lute
4
Mandolin
3
Mandolin, Guitar (duet)
1
ENSEMBLE
2 Oboes, 2 Horns and 2 Bassoons
1
Bassoon, Orchestra
7
Brass ensemble, Organ
2
Cello (band part)
1
Cello, Orchestra
58
Chamber Orchestra
23
Choral, Orchestra
60
Clarinet, Orchestra
12
Concert band
5
Concert band, Choral
16
Doublebass (band part)
1
Flexible Instrumentation
2
Flute, Orchestra
25
Guitar Ensemble
3
Guitar, Orchestra
2
Harp, Orchestra
5
Horn and Orchestra
25
Jazz Ensemble
1
Oboe and Orchestra
8
Oboe, Clarinet, Bassoon and Piano
1
Orchestra
1393
Orchestra, Violin
126
Organ and Orchestra
35
Organ, Mixed Choir and Orchestra
3
Piano and Orchestra
253
Piano Quintet: mixed chamber instrumentation
1
Piano Trio: mixed chamber instrumentation
2
Pocket, Study conductor
66
Recorder Ensemble
4
Saxophone and Orchestra
2
School Ensemble
1
Soli and Orchestra
22
Soli, Mixted choir and accompaniment
623
Soprano voice, Orchestra
1
String Orchestra
58
String quintet
5
Symphonic Band
99
Trombone and Orchestra
2
Viola (band part)
1
Viola and orchestra
4
Violin (band part)
4
Voice and Orchestra
14
Wind ensemble
12
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Io RCT 45 (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...
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Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
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Castor et Pollux RCT 32A-B (RAMEAU JEAN-PHILIPPE)
Orchestra
[Score]
Barenreiter
Tragédie in one Prologue and Five Acts. Par RAMEAU JEAN-PHILIPPE. Rameau Castor...
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Tragédie in one Prologue and Five Acts. Par RAMEAU JEAN-PHILIPPE. Rameau Castor et Pollux RCT 32A-B (Versions from 1737 and 1754) Symphonies (Full Score) Symphonies / Versions from 1737 and 1754 This collection of all instrumental numbers from 'Castor et Pollux' (tragédie in a prologue and five acts) brings together the movements and dances of all versions based on the volumes of the ?Opera Omnia Rameau? IV.3 (version 1737, BA08874-01) and IV.23 (version 1754, BA08864-01). Orchestras can use this to compile a suite to meet their needs aided by a register which offers a separate overview sorted by key. The performance material of the 'Symphonies' is available on hire in the accustomed high quality of the ?Opera Omnia Rameau?. - Compilation of the instrumental numbers from all opera versions - Overview of the keys to enable a tailor-made compilation of orchestral suites - Based on the scholarly-critical new edition of all original versions - Performance material available for hire / Date parution : 2023-06-01/ Répertoire / Orchestre
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Berceuse for Piano Op. 57 (CHOPIN FREDERIC)
Piano solo
[Sheet music]
Barenreiter
Par CHOPIN FREDERIC. Chopin Berceuse for Piano Op.57 Chopin's ?Berceuse? is one ...
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Par CHOPIN FREDERIC. Chopin Berceuse for Piano Op.57 Chopin's ?Berceuse? is one of his most frequently performed works and was regarded by subsequent composers as the prototype of the instrumental lullaby. This piece that Chopin initially named ?Variantes? was composed around the time of his great Sonata in B minor Op.58 and was renamed ?Berceuse? only when it went to print. In it, the composer systematically subjects a four-measure motif to a series of variants which are linked in a continuous flow over an ostinato figure. This Urtext edition reflects the latest state of Chopin research, offering a definitive musical text based on a careful evaluation of the sources. Readings and editorial decisions are documented in the Critical Commentary (Eng) and a detailed Foreword (Ger/Eng) provides information on the work. Hardy Rittner, a Chopin specialist as well as Professor of Piano at the Hochschule für Musik Freiburg, has supplemented the composer's fingering from a historically informed perspective. His chapter on performance practice contains valuable notes, particularly on Chopin's pedal indications which clearly diverge in the sources, on rubato, the execution of ornaments as well as on tonal nuance, voice-leading and cantabilità . - Urtext edition based on the cutting edge of scholarship - Historically informed fingering and notes on performance practice by Hardy Rittner (Ger/Eng) - Well-presented engraving / Date parution : 2023-06-01/ Répertoire / Piano
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NOTES - THE MUSICIANS' CHOICE - RED
Stationery
[Staff Paper]
Barenreiter
Par . A handsome as well as practical Notebook in attractive Mozart red. Inside ...
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Par . A handsome as well as practical Notebook in attractive Mozart red. Inside you will find alternate pages with musical staves on the left and writing lines on the right. The paper quality of the cover andinside pages matches the quality of Barenreiter's Urtext editions. Format: A 6 (10.5 cm x 14.8 cm / 4.1 inches x 5.8 inches) 32 pages, binding: stapled / Date parution : 2023-05-23/ Livre / Carnet de portées
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CASTOR ET POLLUX (RAMEAU JEAN-PHILIPPE) (RAMEAU JEAN-PHILIPPE)
Piano, Voice
Barenreiter
Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to u...
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Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to us in two main versions, such as ?Dardanus? (1739, 1744), ?Platée? (1745, 1749) and ?Zoroastre? (1749, 1756), none fell into oblivion for as long a period as ?Castor et Pollux?. After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist ?Gentil-Bernard? to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux. The main plot remains very similar to the one of 1737, aside from the fact that the sisters Télaïre and Phébé no longer are in love - the one with Castor the other with Pollux - but rather both with Castor which is the reason why Phébé is jealous of Télaïre. Already at the beginning of the first act Pollux relinquishes his love of Télaïre to the benefit of Castor. Castor, however, is killed by Linceus and finds himself in Hades. Pollux commits to saving his brother, sacrifices his immortality and declares his willingness to take Castor?s place in Hades so that his brother and Télaïre may be reunited. Jupiter, moved by this sacrifice, frees Pollux and bestows the couple immortality by giving them a place in the zodiac. Following the editorial principles of the ?Opera omnia Rameau? (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of ?Castor et Pollux?, the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum. This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged. / Date parution : 2023-06-16/ Répertoire / Chant et Piano
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SONATE arrangée pour piano et flûte (FRANCK CESAR) (FRANCK CESAR)
Flute and Piano
[Sheet music]
Barenreiter
Par FRANCK CESAR. / Date parution : 2023-05-06/ Répertoire / Flûte Traversiè...
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Par FRANCK CESAR. / Date parution : 2023-05-06/ Répertoire / Flûte Traversière et Piano
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NOTES - THE MUSICIAN'S CHOICE - AUBERGINE
Stationery
[Staff Paper]
Barenreiter
Par . This little notebook is both attractive and practical. Featuring a front c...
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Par . This little notebook is both attractive and practical. Featuring a front cover in 'Beethoven-aubergine', this notebook has the same layout as Bärenreiter's Urtext editions. The pages alternate with musical staves on the leftand writing lines on the right. The superior paper used matches the quality of Bärenreiter's Urtext editions. This handy notebook is perfect for use as a student lesson book, general notebook or as a gift for musicians ofall ages. / Date parution : 2023-05-23/ Livre / Carnet de portées
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MOZART W.A. - CONCERTO EN LA MAJEUR KV 622 - CLARINETTE SIb, PIANO
Clarinet and Piano
Barenreiter
In late 1791 Mozart wrote his famous work the Concerto for ?Bassettklarinette? a...
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In late 1791 Mozart wrote his famous work the Concerto for ?Bassettklarinette? and Orchestra K.622, known today as his Clarinet Concerto. The challenging virtuoso piece was written for Anton Stadler, and themusic follows the three-part structure of Allegro, Adagio and a Rondo finale.This work was first published in 1801 and by no less than three publishers. It is one of the most important works in the Clarinet repertoire,and remains a popular work to the present date. / Clarinette / Barenreiter
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BEETHOVEN L.V. - LEONORE OUVERTURE N°3 - SCORE
Orchestra
Barenreiter
Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of t...
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Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of the ?Leonore? overtures- Based on the G. Henle Complete Edition of the ?Works of Ludwig van Beethoven?- Orchestral parts in an enlarged format (25.5 cm x 32.5 cm)Of the four overtures that Beethoven composed for his only opera, the ?Leonore Overture? No. 3 is the most popular. The first reviewer found fault with it for its ?incessant dissonances and overblown fluttering of the violins? (Wiener Theater-Zeitung, 1806), but it soon became famous as ?one of the most imposing, difficult, yet richest and strangest of compositions? (Allgemeine Musikalische Zeitung, 1810). This version of the ?Leonore Overture? quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various ?Leonore Overture? versions, in particular the question whether the trumpet call in measures 272?277 and 294?299 should be played by one or two instruments. The edition is based on the Complete Edition of the ?Works of Ludwig van Beethoven? issued by the G. Henle publishing company. / Grand format / Barenreiter
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Trio in B-flat major op. 97 (BEETHOVEN LUDWIG VAN)
Piano Trio: piano, violin, cello
[Score]
Barenreiter
Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduk...
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Archduke. Par BEETHOVEN LUDWIG VAN. By the time Beethoven completed the ?Archduke? Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its première together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven?s last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today it numbers among his most celebrated pieces of chamber music, not least because of its remarkable melodiousness ? a feature typical of Beethoven?s music from these years ? and its spacious formal design. Jonathan Del Mar?s new critical edition of the Trio draws not only on early prints but also on various handwritten sources. A detailed introduction by Misha Donat is devoted to the work?s historical contexts. - Urtext edition of Beethoven?s most famous piano trio - Detailed introduction (Eng/Ger), editor?s foreword (Eng/Ger) and Critical Commentary (Eng) / Date parution : 2022-11-29/ Répertoire / Violon, Violoncelle et Piano
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Sonate Nr. 1 in d-Moll op. 75 (SAINT-SAENS CAMILLE)
Violin and Piano
[Sheet music]
Barenreiter
Par SAINT-SAENS CAMILLE. The second half of the 19th century represented somethi...
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Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: Influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.1 was incorporated into the repertoire of numerous late 19th-century violinists soon after it was written. It was also this sonata which inspired Marcel Proust when he wrote about the fictional sonata by the composer Vinteuil in his novel ?À la recherche du temps perdu?. This performing edition edited by Fabien Guilloux and François de Médicis is based on the musical text from ?Saint-Saëns ? ?uvres instrumentales complètes?, volume III/4 in which Saint-Saëns? lengthy corrections of the Durand first edition as well as the autograph sources have been meticulously evaluated. - With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history - Performing edition based on the Urtext of the ?Saint-Saëns ? ?uvres instrumentales complètes? - Optimum layout in the violin part and piano score / Date parution : 2022-11-29/ Répertoire / Violon et Piano
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Six études pour la main gauche seule op. 135 (SAINT-SAENS CAMILLE)
Piano solo
[Sheet music]
Barenreiter
Par SAINT-SAENS CAMILLE. Saint-Saëns? etudes for the left hand were written in ...
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Par SAINT-SAENS CAMILLE. Saint-Saëns? etudes for the left hand were written in 1912 at the request of his pianist friend Caroline Montigny-Rémaury de Serres, who had suffered an injury to her right hand. These etudes which were printed in 1913 were originally entitled ?Petites pieces? by Saint-Saëns in his manuscript and indeed the cycle, which the composer himself described as ?charming? and ?amusing?, lacks any rigour of an etude collection. Particularly the ?Bourrée? quickly enjoyed great popularity. The edition is based on the musical text from ?Saint-Saëns ? ?uvres instrumentales complètes?, volume IV/3. An insightful Foreword (Fr/Eng/Ger) on the genesis and interpretation, a Critical Commentary (Eng) as well as an elegant music engraving make this collection of little gems the perfect addition to the piano repertoire. - First Urtext edition - Musical text based on ?Camille Saint-Saëns ? ?uvres instrumentales complètes? - With an insightful Foreword (Fr/Eng/Ger) on the genesis and interpretation and a Critical Commentary (Eng) / Date parution : 2022-11-29/ Etude / Piano
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Sonata - Landscape (KLEIN GIDEON)
Piano, Voice
[Score]
Barenreiter
Sonáta - Krajina. Par KLEIN GIDEON. The extraordinarily gifted composer and pia...
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Sonáta - Krajina. Par KLEIN GIDEON. The extraordinarily gifted composer and pianist Gideon Klein (1919?1945) was murdered in the Fürstengrube concentration camp at the age of 25. One of the undeniable highlights of his small compositional legacy is his Sonata for Piano. Its three movements were written in reverse order in the TerezÃn concentration camp in 1943; only a three-measure draft of the intended fourth movement has survived. This first Urtext edition of the piano sonata has been expanded to include the previously unpublished short melodrama ?Landscape? (entitled ?Topol? / ?Poplar? in existing literature) in which the pianist can also take over the recitation part if required. In July 1939, shortly after Klein completed his studies at the conservatory, he composed this setting of the same-named poem by Vilém Závada (1905?1982) in the style of free atonality. - First Urtext edition of the sonata - First publication of the melodrama ?Krajina? (Landscape) with translations (Ger/Eng) of the Czech text in the prefix - Includes the draft of the fourth movement printed as a facsimile - Foreword (Cz/Eng/Ger) on the genesis and reception as well as a Critical Commentary / Date parution : 2022-11-29/ Répertoire / Piano et Récitant
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Zoroastre - RCT 62 A-B Symphonies (RAMEAU JEAN-PHILIPPE)
Orchestra
[Score]
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Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the ver...
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Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre
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Twelve Fantasias for Viola da gamba without Bass (TELEMANN GEORG PHILIPP)
Flute
[Sheet music]
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Arranged for Flute (TWV 40: 26-37). Par TELEMANN GEORG PHILIPP. Georg Philipp Te...
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Arranged for Flute (TWV 40: 26-37). Par TELEMANN GEORG PHILIPP. Georg Philipp Telemann composed thirty-six fantasias for solo instrument: twelve each for traverse flute, violin, and viola da gamba. While those for flute and violin belong to Telemann?s most popular works today, the fantasias for viola da gamba were unknown throughout much of recent history until a copy of these fantasias was rediscovered in 2015. For this edition, flautist Leona Rötzsch arranged the viola da gamba fantasias for solo flute, thereby complementing Telemann?s flute fantasias with another set of twelve. Carefully retaining Telemann?s tonal language, these viol works were made accessible for the flute by use of transpositions, diminutions, and broken chords. / Date parution : 2022-11-08/ Répertoire / Flûte Traversière
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Nocturne for String Orchestra in B major Op. 40 (DVORAK ANTONIN)
Orchestra
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Par DVORAK ANTONIN. / Date parution : 2022-11-08/ Répertoire / Orchestre
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Symphony No.52 in C minor Hob.I:52 (HAYDN JOSEPH)
Orchestra
[Score]
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Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn...
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Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob.I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob.I:44 (?Mourning?, BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller?s journal ?Musikalische Nachrichten und Anmerkungen? of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag. - Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag - Orchestral parts in a large format (25.5 cm x 32.5 cm) / Date parution : 2022-11-08/ Répertoire / Orchestre
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Scipione Affricano (CAVALLI FRANCESCO)
Opera
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Par CAVALLI FRANCESCO. In 1662, CavalliÂ’s career was at its zenith. The two doz...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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Playing with Rhythm
Guitar
[Sheet music]
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10 Pieces for Guitar. Par . Playing with Rhythm: 10 Pieces for Guitar Rhythm is ...
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10 Pieces for Guitar. Par . Playing with Rhythm: 10 Pieces for Guitar Rhythm is a challenge for many guitar students and is only treated marginally in current pedagogical guitar literature. Precisely this subject is now addressed in the album ?Playing with Rhythm? which was created in cooperation with the Prague Guitar Forum festival. The small compositions written by renowned guitar teachers, composers and guitarists develop the rhythmic feeling of budding guitarists in an original way while conveying the joy of music making. Composers: Milan Zelenka, Franti?ek Luká?, Jule Malischke, Pavel Steidl, ?tepán Rak, Katja Wolf, Stefan Schmidt, Milo? Orson ?tedron, Tomá? Ille, Tatiana Stachak. - Music pieces by ten renowned composers from the Czech Republic, Germany and Poland - For advanced beginner guitar students - Includes a short Foreword (Cz/Eng/Ger) on the background of the edition - Recordings of the compositions available on the Bärenreiter website at: https://www.baerenreiter.com/extras/H8058 under Multimedia / Date parution : 2022-11-08/ Etude / Guitare
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Déjà vu in A major for Oboe d'amore (STRANZ ULRICH)
Oboe
[Sheet music]
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Par STRANZ ULRICH. For many years the manuscript of ?Déjà vu? slumbered in the...
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Par STRANZ ULRICH. For many years the manuscript of ?Déjà vu? slumbered in the music library of oboist Hansjörg Schellenberger (former solo oboist of the Berlin Philharmonic) before it was rediscovered last year. Ulrich Stranz composed this solo work for Oboe d?amore, the alto instrument in the oboe family, at the end of his student years in 1974 as the nucleus of his later identically named concert piece (BA06292-72). The dedicatee Hansjörg Schellenberger refers to it as a ?masterwork? and ?an important enrichment of the repertoire of oboists?. / Date parution : 2022-11-08/ Répertoire / Hautbois d'Amour
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE
Piano, Voice
[Vocal Score]
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE / Choeur et ensemble vocal ...
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HANDELG.F. - ZADOK THE PRIEST HWV 258 - VOCAL SCORE / Choeur et ensemble vocal / Barenreiter
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MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE
Piano, Voice
[Vocal Score]
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MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE / Choeur et ensemble vocal /...
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MOZART W.A. - MASS IN C MINOR KV 427 - VOCAL SCORE / Choeur et ensemble vocal / Barenreiter
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KINDERMANN JOHANN ERASMUS - 2 SONATES - VIOLON and BASSE CONTINUE
Violin, Basso continuo
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KINDERMANN JOHANN ERASMUS - 2 SONATES - VIOLON
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Streichquartett in F - Op. 135 (BEETHOVEN LUDWIG VAN)
String Quartet: 2 violins, viola, cello
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Par BEETHOVEN LUDWIG VAN. Beethoven completed his String Quartet Op.135 at Wasse...
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Par BEETHOVEN LUDWIG VAN. Beethoven completed his String Quartet Op.135 at Wasserdorf Castle in Gneixenhof, where he sought to recuperate with his nephew Karl after the latter?s failed suicide attempt in summer 1826. It stands out among his late quartets owing to the often cheerful, almost pastoral character of its four movements. Since Beethoven?s death it has often been interpreted as an attempt to take wise and positive stock of the mishaps that had befallen him in the preceding years regarding his life situation, family and health. This interpretation is strongly suggested by the final movement, ?Der schwer gefasste Entschluss? (The Difficult Decision), with its motto ?Must it be? It must be! It must be!? The editing of this quartet proved especially complex, for the authentic sources were reworked at various stages by the composer. By judiciously assessing them, editor Jonathan Del Mar has managed to clarify many anomalies found in previous editions. - Beethoven?s final string quartet with many new readings - Introduction by Misha Donat (Eng/Ger), editor?s foreword by Jonathan Del Mar (Eng/Ger) and a scrupulous, separately published Critical Commentary (Eng) / Date parution : 2022-07-30/ Répertoire / Quatuor à Cordes
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