Complete Works

SKU: BR.SON-609

ISBN 9790004802717. 10 x 12.5 inches.

Sibelius orchestral works rediscovered It was a minor sensation when in 1996 the conductor Osmo Vanska recorded a completely unknown, more than 20-minute-long orchestral work by the young Jean Sibelius in Lahti: Skogsraet (The Forest Nymph) had suddenly re-emerged. But this was no mere rediscovery, since in his later years, Sibelius had graciously agreed that his early work could be performed in a radically abridged form. He thus left his score in a rather confusing condition. Varsang (Spring Song), the second work in this volume of the Complete Edition, has two (or even three?) early versions, which makes for a most complicated source examination. Tuija Wicklund thus faced a mountain of problems in preparing the edition. The editor's meticulous work ultimately yielded three complete orchestral scores from the years 1894/95, thus from a period in which no one can claim that such pieces are early works. By this time, Sibelius had already made a name for himself in Finland with his first masterpieces Kullervo (1892), En saga (first version, 1892), the Karelia Suite (1893) and Rakastava (1894).

SKU: BR.SON-608

First version of February 1892

ISBN 9790004802649. 9 x 12 inches.

A look into Kullervo's workshop Jean Sibelius's own piano-vocal scores of the two choral movements from his Kullervo Symphony Op. 7 were forgotten for nearly a century. It was not until 1982 that the manuscripts were transferred from the composer's estate to the Helsinki University Library. They will be printed for the first time in the Complete Edition. They allow scholars a fascinating insight into the revisions that Sibelius made even before the world premiere, and they supplement the new edition of the first text-critical score recently presented by Glenda Dawn Goss within the framework of the Complete Edition. We can see how explosive Kullervo's vocal text must have been in 1892 by the fact that the composer decided to replace the original women's chorus with a male chorus. His teacher Martin Wegelius had advised him to bear in mind that female choral singers might refuse to perform the incestuous seduction scene.

SKU: HL.49019756

ISBN 9783795794712. 11.0x15.0x0.982 inches.

The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of ‚Unpublished pieces for an eventual complete edition‘.The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor.Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary.The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.

SKU: BR.SON-616

More than 40 unloved works?

ISBN 9790004803189. 9 x 12 inches.

The Complete Edition Jean Sibelius Works has made a big step forward with this volume: the publication of all piano works which the composer personally supplied with opus numbers, thus bequeathing them to posterity in an authorized form. The piano pieces with opus numbers ranging between 85 and 114 were written partly during World War I and, more importantly, during the first post-war years up to 1924. This is when for various reasons, and not only for lack of funds Sibelius once again applied himself intensively to the composition of piano pieces. The more than 40 works eloquently refute the claim that the composer had little esteem for the piano. With the little collection of op. 114, Sibelius leads us into the memorable year 1929, when he ended his compositional activity once and for all.

SKU: SU.00220523

This CD Sheet Music™collection brings together virtually all of Franz Schubert's music for solo piano and piano 4-hands. Includes: Sonatas (15), Moments Musicals, Impromptus, Dances (complete), Overtures (arranged for piano 4-hands), miscellaneous solo works, plus fragments and incomplete works. Added feature: composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 1200+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: BR.SON-632

ISBN 9790004803677. 10 x 12.5 inches.

The present volume contains four works for choir and orchestra that were composed and premiered at the turn of the 20th century. The works in the volume are arranged according to their opus numbers, though this does not fully reflect their chronology: Impromptu (Op. 19) for female choir and orchestra, composed and premiered in 1902; Sandels (Op. 28) for male choir and orchestra, composed in 1898 and premiered in 1900; Snofrid (Op. 29) for reciter, mixed choir, and orchestra, composed and premiered in 1900; and Islossningen i Ulea alv (Op. 30) for reciter, male choir, and orchestra, composed and premiered in 1899. Sibelius planned to revise all four works, but he only revised Impromptu in 1910 and Sandels in 1915. Both versions of these two works appear in the volume. All four works are settings of poems by Swedish-speaking authors, namely Viktor Rydberg (1828-1895), Johan Ludvig Runeberg (1804-1877) and Zacharias Topelius (1818-1898). Thorough introductions for all the works are include along with some facsimile pages. One might hope that the availability of the critical edition would encoure performances of these fine, neglected works. The music deserves to be heard more often. (Andrew Barnett & Ian Maxwell, www.sibeliusone.com).

SKU: BR.SON-627

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

SKU: BR.SON-623

ISBN 9790004803257. 9 x 12 inches.

Three volumes of the Complete Edition and many single publications derived from them featuring piano music by Jean Sibelius have brought this weighty work group to center stage once again. The fourth volume, Piano Works Without Opus Number, rounds off this enjoyable collection. The sheer number of the pieces is enough to contradict the familiar prejudice that the piano played a subordinate role in Sibelius oeuvre. The Finnish composer repeatedly returned to this instrument for a variety of reasons, and in the wealth of small piano forms, one finds many a musical idea that was later elaborated and bore fruits for the large orchestral works.