Format : Score and Parts
SKU: CA.5022900
ISBN 9790007087463.
Rheinberger's string quartets, his string quintet and his nonet for winds and strings were often performed and were very successful works during his lifetime. Their density, but also the delicateness of the scherzo movements are in the tradition of Schumann and Mendelssohn and these traits are combined with Rheinberger's sense for the clear, defined structure of the movements and solid contrapuntal writing. The octet for winds and strings is published here for the first time and the nonet, which is actually a reworking of this octet that Rheinberger undertook some twenty years later, is also published in this volume. Rheinberger made major changes from the original octet and he added two new movements to the nonet. Both works show especially the interest and pleasure which he derived from the variety in the differentiation of colors in ensemble playing. The Thema mit Veranderungen op. 93, which until now has been known as a work for string quartet, is published here with the double bass part which Rheinberger later added.
SKU: HL.44012485
ISBN 9789043145183. UPC: 888680086459.
Op. 70 - flt, ob, eng hn, 2 clar, 2 hn, 2 bsn.
SKU: PR.11441352S
UPC: 680160573523. Key: F major.
SKU: BA.BA05504
ISBN 9790006471980. 33.1 x 26.1 cm inches.
Urtext der Neuen Schubert-Ausgabe.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: HL.14030047
ISBN 9788759852095. 8.25x11.75x0.048 inches.
The Piano music of Jean Sibelius ranks among the greatest of Finnish music, and his 1924 set Five Characteristic Impressions demonstrates his importance, particularly in the field of Tone Poems. The fifth piece of this set, In Mournful Mood is a slower piece than the others, but is moving nonetheless. It is an impressionist piece that expresses imagery of reality with fabulous tonality and colour.
SKU: PR.41641399L
UPC: 680160597772. 11 x 14 inches. Key: C major.
SKU: FL.FX070711
EPSIBOP is a fast tune that sounds like a little Big Band. Claudio Roditi, in the record, is exposing the theme, very swing.
SKU: BR.PB-5342-07
Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses i. Symphony; Classical. Study Score. 88 pages. Duration 35'. Breitkopf and Haertel #PB 5342-07. Published by Breitkopf and Haertel (BR.PB-5342-07).
ISBN 9790004210970. 6.5 x 9 inches.
For the present Urtext edition of Beethoven's Symphony No. 2, the editor also consulted certain sources and authentic new variants for the first time; among them are the nonet arrangement made by Beethoven's pupil Ferdinand Ries in 1807, thus with authentic variants. Thanks to his vast knowledge, the editor has uncovered a number of errors and contradictions in the sources. The basic differences with respect to other editions chiefly concern the articulation and dynamics in movements 1, 2 and 4. They can easily be found in the Critical Commentary of the conducting score.Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses in the interpretation of Beethoven's music. (Kurt Masur, 2006).
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
SKU: PR.165000970
ISBN 9781491100462. UPC: 680160626717. 9x12 inches.
Commissioned by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..One of the joys of life for me is riding my 21-speed bicycle. As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need. The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake. When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting†(with a ratchet) as the terrain changes. So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward. There’s a joyous little tune in our heads as we begin our ride. As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride. Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time). Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill. (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, aheadâ€, “Steady and committed…the climb begins!â€, “Straining against the gradeâ€, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery). When at last the summit of the second hill is reached (“Flying, Over the Topâ€), we coast at last down the other side at breakneck speed. The initial joyous melody returns, but now in a spread-out coasting pulse. At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna. The piece is dedicated to him (and to all bicycle enthusiasts).
SKU: CA.2718709
ISBN 9790007302191. Latin.
As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s Å“uvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts.
SKU: BA.BA10986
ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.
Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies†as they are stylistically closely linked to the “London Bachâ€, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirendâ€, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang†symphonies as well as all the London and Paris symphonies.
SKU: BA.BA10985
ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.
Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies†as they are stylistically closely linked to “the London Bachâ€, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirendâ€, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang†symphonies as well as the complete London and Paris symphonies.
SKU: CA.2718719
ISBN 9790007302207. Latin.
SKU: CA.2718737
Latin.
SKU: CA.2718726
SKU: CA.2718732
SKU: HL.49012042
ISBN 9790001100748. UPC: 073999330540. 8.5x12.0x2.22 inches.
This work was originally written for brass band (see there). At the composer's request, his former pupil Marcel Wengler wrote an arrangement for Symphonie wind band, which is equal to the original in ever-yway. Here Henze and Wengler have given wind players a work which successfully combines a popular style and to some extent extremely witty elements with the resources of new music. It is excellent concert music for advanced and Professional orchestras.Hans Werner Henze belongs to a small circle of internationally known cornposers of serious contemporary music. In his operas, symphonies, and music for ensembles and chamber music groups, as well as in his contributions to music for amateurs, there are works with a distinctive sense of form, delicate tonality and rhythmic variety which nonetheless never lose sight of that dimension of humanity.Marcel Wengler (born 1946) is now a freelance composer. He lives in Luxemburg.Picc. * 1 * 2 (ad lib.) * Engl. Hr. (ad lib.) * Es-Klar. * 3 * Altklar. (ad lib.) * Bassklar. (ad lib.) * 2 Altsax. * 2 Tenorsax. * Baritonsax. (ad lib.) * 1 (ad lib.) - 4 * 2 Flhr. * Tenorflhr. * 3 * 3 * 2 Bombardini * 2 * 2 Kb.-Tb. - P. S. (Glsp. * Xyl. [oder 3 Tempelbl.] * Trgl. * Beckenpaar * 3 Bong. * kl. Tr. * 3 Tomt. * gr. Tr. * Woodbl.) (3 Spieler).
SKU: BA.BVK01582
ISBN 9783761815823. 27.6 x 19.9 cm inches.
Judged by number of works, Giacomo Puccini left behind a relatively slender oeuvre . Nonetheless, the most popular of his operas as well as theminor piecespose some-times thorny bibliographical, editorial, and source-critical problems. The composer of La Boheme and Madama Butterfly constantly tinkered with his compositions, and the changes are reflected in a welter of conflicting printed editions. Dieter Schickling's detailed thematic catalogue brings order into this editor's nightmare while offering complete coverage of all of Puccini's music, including the surviving drafts. It is a standard reference work, not only for scholars and libraries throughout the world, but also for music antiquarians and autograph dealers.
SKU: BR.SON-507
ISBN 9790004802908. 9 x 12 inches.
Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: CA.2102400
ISBN 9790007167745.
The compositions of Guillaume Bouzignac (ca. 1587 to sometime after 1643) were important for the development of French sacred music before the time of Jean-Baptiste Lully. Nonetheless his work, surrounded by mystery, has survived in only four manuscripts containing only eleven motets which are ascribed by name to Bouzignac. The present edition contains four a cappella motets for the Christmas season. These are sacred stories, brief scenes, in which the soprano voice sings in dialog with the other voices of the choir.
SKU: CA.1004349
ISBN 9790007310929. Latin.
The harrowing Old Testament story of the army commander Jephthah, bound by a sacred vow to kill his daughter, inspired the Roman composer Giacomo Carissimi to create this intense and moving setting. Written in the 1640s, Historia di Jephte is not only one of the earliest oratorios, but also one of its greatest.Scored for just six solo voices in diverse combinations accompanied by basso continuo, Carissimi presents the Latin biblical text in the recitative style of the early Baroque. He nonetheless repeatedly abandons this style to highlight the plot's tragic events, employing all expressive Affekts he had available to him. The chromatic voice-leading and thrilling harmonization of the lamentations and Jephthah’s dialogue with his doomed daughter create an intense and anguished atmosphere.While scholars believe that the choir originally consisted of six solo parts, the work does not suffer when performed by a larger ensemble. To commemorate the 350th anniversary of the composer’s death, Carus is publishing this new critical edition based on the copy made by Carissimi’s pupil, Marc-Antoine Charpentier. A continuo realization is included in the score.
SKU: HL.355082
ISBN 9781705109960. UPC: 840126938357. 9.0x12.0x0.133 inches.
Song titles: 1. Confined love; 2. The Computation. Text: John Donne. Dediction: Adele Addison. Première: 1958; New York; Donnell Library Composer’Forum; Bethany Berdslay, soprano; Arthus Winograd, conductor. Versions with small chamber accompaniment (rental) and piano accompaniment (retail) are available from the publisher. Instrumentation: Soprano, String Quartet, 1.1(dEH).1.1: 1.0.0.0.
SKU: HL.156352
UPC: 876964009416. 5.5x6.5x0.47 inches.
The definitive documentary about the beloved and influential '70s rock band Big Star. Together less than four years, the band flirted with mainstream success but never achieved it. Nonetheless, they produced a body of work of seminal important to pop and alternative music, influencing major artists like REM, The Replacements, Elliot Smith, Beck, The Flaming Lips and countless others.