Format : Reduction
SKU: BR.OB-5357-19
ISBN 9790004336786. 9 x 12 inches.
A sensational discovery was made in 1988 when two sheets containing 60 additional measures of the celebrated Rondo K. 371 were found. Robert Levin filled in not only this movement, but also the equally fragmentary Konzertsatz K. 370b that belongs to it. The preface reads in parts like a crime novel when Levin relates how he put together the various parts, supplemented them and orchestrated them in a Mozartian manner. It is to his flair and intuition that we owe the recovery of Mozart's Horn Concerto No. 0, written in 1781. It is a truly valuable addition to the repertoire, which is further enhanced by Levin's imaginative cadenza suggestions, from which every horn player can create his own original cadenza.Edition for horn and piano by Christian R. Riedel with cadenzas and lead-ins by Robert D. Levin.
SKU: PR.446413410
UPC: 680160667420. 9 x 12 inches.
I wrote this piece with a darker sonority and an emphasis on lyricism, qualities that I associate with the viola. In the first movement, titled Fantasia, the viola begins with a quiet and free cadenza, becoming more passionate until the woodwinds join in dialogue with the soloist. Gradually the rest of the orchestra enters, exploring ideas from the solo cadenza while introducing a new theme that reappears in the last movement. The second movement is a scherzo, mischievous in mood with the orchestra and viola trading barbed jokes. The antics are interrupted by a brass chorale with embellishment from the viola. The scherzo then resumes with prominent contributions from the bassoons. The last movement, titled Nocturne, plays with different kinds of music associated with the night. A sensual and romantic atmosphere gives way to something more menacing and ultimately violent. After a climax from the full orchestra, soft strings and solo viola lead us into the coda, taking an ambiguous idea from the first movement and transforming it into a lyrical and heartfelt prayer. The concerto ends with the solo viola ascending on the crest of an orchestral wave of sound.
SKU: PR.44641341L
UPC: 680160667437. 11 x 17 inches.
SKU: HL.48182355
UPC: 888680840587. 9.0x12.0x0.135 inches.
With Cadenzas by R.Boulay.
SKU: BR.OB-5300-19
You will find the original cadenzas under Mozart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Busoni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 8 pages. Duration 35'. Breitkopf and Haertel #OB 5300-19. Published by Breitkopf and Haertel (BR.OB-5300-19).
ISBN 9790004335123. 10 x 12.5 inches.
Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.
SKU: BR.OB-15107-19
ISBN 9790004339374. 10 x 12.5 inches.
One of the most frequently performed concertos of all, it was written while Mozart was working on the opera Le nozze di Figaro. The source situation is clear: the autograph score has survived, and the first printed editions were not published until after Mozart's death.The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Ernst-Gunter Heinemann to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.
SKU: BR.OB-15108-19
ISBN 9790004339619. 10 x 12.5 inches.
Mozart's Concerto K. 453 enjoyed great popularity during the composer's lifetime and was widely known through copies and a print. The state of the sources is thus multi-faceted yet unequivocal: the primary source is the rediscovered autograph, which was considered lost after 1945 and was not at the disposal of the Neue Mozart-Ausgabe. The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Stephan Horner to whom Henle has entrusted its urtext editions. Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.In Cooperation with G. Henle Verg.
SKU: BR.OB-15143-19
ISBN 9790004342022. 10 x 12.5 inches.
The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).
SKU: BR.OB-5308-19
ISBN 9790004339985. 10 x 12.5 inches.
Mozart's Flute Concerto K. 314 (285d) was most likely derived from the Oboe Concerto K. 314 (271k). The decisive impulse for the arrangement was presumably provided by a commission from the Dutch flutist Ferdinand Dejean in 1778. Any new edition inevitably has to take a very cautious approach, as the source transmission is thin: only copies dating from the 1790s have survived for both versions, and these copies clearly differ from one another. Moreover, it is nowhere confirmed that Mozart actually prepared the flute version himself. Henrik Wiese has worked intensively with Mozart's flute compositions as an interpreter and musicologist, and now presents following his new edition of the Concerto K. 313 the second solo concerto in an Urtext edition. He has once again supplied his own cadenzas.Gut ein Dutzend Ausgaben dieses Konzerts durfen derzeit erhaltlich sein, doch diese hier ist etwas besonderes. (Ursula Pesek, Das Orchester).
SKU: BR.OB-15106-19
ISBN 9790004339206. 10 x 12.5 inches.
The editorial quality of the new edition is guaranteed not only by Schiff's sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Norbert Gertsch to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozart's handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozart's own manuscripts, early copies in parts and prints also contain important information regarding the musical text.Die Editionen werden den Intentionen des Komponisten so weit wie moglich gerecht. Gemass Mozarts Anweisungen in den Autographen ist beispielsweise im unteren Klaviersolosystem sowohl der Partituren als auch der Klavierauszuge durchgangig die Bassstimme des Orchesters wiedergegeben. (Andreas Friesenhagen, FonoForum)L'interet particulier de cette nouvelle edition reside dans les notations complementaires des parties de violon ayant pour source la premiere execution de l'oeuvre par Joseph Joachim et Robert Hausmann avec, tres probablement, l'autorisation du compositeur, ces notes de jeu refletant les pratiques de l'epoque. (Crescendo).
SKU: BR.OB-16110-19
ISBN 9790004348048. 10 x 12.5 inches.
Johannes Brahms's only violin concerto, one of the most important violin concertos of the 19th century, is now a central repertoire piece. This fact is all the more notable, as, by his own account, Brahms understood all too little about the instrument. The concerto was composed at Worthersee during the summer of 1878 in collaboration with Joseph Joachim, a leading contemporary violinist. The solo part is extremely demanding, with really unusual difficulties. This circumstance did not go unnoticed by the critics of the first performance: Even to Joachim, the battled-seasoned wrestler, the technically difficult and tricky solo part was to be mastered only with obvious effort. Evidencing this close collaboration between composer and performer is not only the work's genesis and publication history, together with its dedication to Joachim, but also its solo cadenza. Based on the New Brahms Complete Edition, this Urtext edition includes both the printed version of Joachim's cadenza as well as its shorter version arranged in 1885 by the violinist Marie Soldat.
SKU: BR.OB-15123-19
In Cooperation with G. Henle VerlagEB 10825 is printed in score form; two copies are needed for performance. Our edition EB 8579 contains a Ferrucci Busoni cadenza for the Piano. Solo concerto; Classical. Part. 8 pages. Duration 33'. Breitkopf and Haertel #OB 15123-19. Published by Breitkopf and Haertel (BR.OB-15123-19).
ISBN 9790004340486. 10 x 12.5 inches.
The C major Concerto K. 503 was held in particularly high esteem by Mozart, who, for example, put it on the program of his subscription concert at Leipzigs Gewandhaus in 1789, three years after it was written. This new edition is based on the autograph and also takes into account the first edition published by Constanze Mozart at her own cost in 1797.The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Ernst Herttrich to whom Henle has entrusted its urtext editions.Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.
SKU: BR.OB-15148-19
In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Part. 8 pages. Duration 28'. Breitkopf and Haertel #OB 15148-19. Published by Breitkopf and Haertel (BR.OB-15148-19).
ISBN 9790004342190. 10 x 12.5 inches.
Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.
SKU: BR.OB-15134-19
In Cooperation with G. Henle Verlag
ISBN 9790004341490. 10 x 12.5 inches.
Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin.
SKU: BR.OB-15117-19
ISBN 9790004340431. 10 x 12.5 inches.
The Urtext edition of what is arguably the most often played double-bass work of all was long overdue. The work was previously available only in an abridged and arranged form. The edition departs from the sole extant source, a set of parts from the estate of the composer and double-bass virtuoso Johannes Sperger. The score and orchestral parts as well as the piano reduction are printed in E major as well as D major so as to make the work playable both in orchestral or Viennese tuning as well as in solo tuning. The piano reduction contains additional cadenzas by the editor.I hope players will convert to this edition.(Clifford Bartlett, in: Early Music Review, No. 142, June 2011)An exciting addition to the bassist's library. This definitive score will assist teachers and performers alike.(Marian Heckenburg, AUSTA Stringendo).
SKU: BR.OB-15130-19
ISBN 9790004341261. 10 x 12.5 inches.
The Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research.The clean autograph of the Horn Concerto in Eb major K. 447 offers a reliable basis for the present Urtext edition, which deliberately abstains from leveling out certain fine points and smaller divergences made by Mozart at parallel and repeated passages.In the edition for horn and piano, the two solo parts contain two cadenza suggestions for the first movement, as well as lead-ins (also alternative) for measures 22 and 196 in the third movement. The distinguished Mozart specialist Robert D. Levin offers a variety of multiply interrelated motivic and melodic sections from which every horn player can put together his own cadenza.
SKU: AP.49936
ISBN 9781470657741. UPC: 038081575605. English.
Give your young string orchestra a chance to learn the all-important skills needed to accompany a soloist with this compact, one-movement work that features a soloist playing ANY string or band instrument: oboe, viola, tuba---you name it! A Chameleon Concerto, by Richard Meyer, has catchy melodies that explore various moods. The constant give-and-take between the soloist and strings keeps every section of your group active. There is even a short cadenza toward the end of the piece to offer everyone on stage a complete concerto learning experience. (4:40).
SKU: AP.49936S
ISBN 9781470657758. UPC: 038081575612. English.
SKU: BR.OB-15103-19
ISBN 9790004338193. 10 x 12.5 inches.
Bassoonists are eagerly awaiting the new Urtext edition of this work, which is widely beloved for its virtuoso passages and inventive richness. Not only does this edition offer a carefully prepared text; it also features cadenza suggestions by Robert Levin as creative stimuli for the performer. The sole source for the new edition is the original print (Offenbach: Andre, 1802?), which was issued in parts. The autograph score itself is lost.
SKU: PR.416411770
UPC: 680160091508.
I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.
