the programme new publications sheet music - · pdf filethe programme new publications sheet...

1 New Publications 2/2013: The Programme

New Issue Title

The ProgrammeNew PublicationsSheet Music2/2013

New Publications 2/2013: The Programme 2

New Issue Title

Variable InstrumentationSpirituals (series combocom). BA 6699 ............................... 27

WindsGershwin: Rhapsody in Blue for Woodwind Quintet BA 8612 ...................................................................................28

Contemporary Music ........................................... 29

Complete Editions ................................................... 29

ChoirTelemann: Gelobet sei der Herr, der Gott Israel BA 5899-90 .......................................................................... 30Bach: Festive Choral Settings from Cantatas BA 7527 ....................................................................................31Mendelssohn Bartholdy: Psalm 42 op. 42 BA 9074 ..................................................................................32Bunk: Sacred Choral Music. BA 7548 .................................... 33

OPEra ..............................................................................34–35

Solo VoiceMozart: Concert Arias I–III BA 9181, BA 9182, BA 9183 ..........................................36–37Dvořák: Cypresses. BA 9569 ....................................................38

OperaRameau: Les Fêtes de l’Hymen et de l’Amour BA 8858-90 ...........................................................................39Rameau: Dardanus. BA 8854-90 ............................................39Janáček: Osud (Destiny). BA 9562-90 ................................. 40Handel: Arminio HWV 36. BA 4100-90................................ 41Salieri: Prima la musica e poi le parole. BA 8811-90 ....... 42

app Beethoven’s 9th Symphony ..............43

Your Contacts ............................................................... 44

PianoLiszt: Sonata in B minor for Piano. BA 9650 ........................ 3Beethoven: Concerto No. 2 in B-flat major for Pianoforte and Orchestra, op. 19. BA 9022 ............4Beethoven: Sonata in F minor for Piano op. 57 “Appassionata”. BA 10852 ................................................... 5Haydn: Complete Piano Sonatas IV. BA 10804 ....................6Schubert: Sonata in B-flat major for Piano D 960 BA 10860 ................................................................................. 7

OrganFranck: Complete Works for Organ and for Harmonium Volume I BA 9291 ............................................................................... 8–9

String Instrument and OrganJewish Prayer. Works for Viola (Cello) and Organ BA 11216 .................................................................................. 10

StringsPaganini: 24 Capricci per Violino Solo op. 1 BA 9424 .................................................................................. 11Gola: Violin Technique Volume 1: BA 9550 / Volume 2: BA 9551 ........................12Concert Pieces for Double Bass and Piano BA 9696 ..................................................................................13Speckert: Folk for two Violins BA 10624 ................................................................................ 14Bodunov: Classic Hits for Violin and Viola BA 10626 .................................................................................15

Chamber MusicBrahms: Trio for Violin, Violoncello and Piano Opus 87 BA 9436 .................................................................................. 16Dvořák: Major chamber music works ........................... 17–19 Suk: Piano Quartet in A minor op. 1. BA 9546 ................... 20

Study ScoreSmetana: Má vlast. TP 557 ....................................................... 21

Bärenreiter Urtext ........................................... 22–26

Contents


New Issue Title

Piano

Franz Liszt:Sonata in B minorfor Piano

BÄRENREITER URTEXTEdited by Michael KubeBA 9650 · approx. € 11.95

To appear in November 2013Liszt’s Sonata in B minor, which appeared in 1854, is of outstanding significance within the piano sonata genre. Bärenreiter presents this work – still a musical challenge for every pianist – in a scholarly-critical Urtext edition by Michael Kube. The musical text remains faithful to the sources and the latest in musicological research has been incorporated. A clearly structured musical layout and practical page turns offer the best possible prerequisites for studying and understanding this unique work.

• Scholarly-criticalUrtexteditionbasedonthelatestresearch

• Withoptimumpageturns

• Informativepreface(Eng/Ger)andcriticalnotes(Eng)

onquestionablereadingsanddeviationsinthesources

a milestone in piano literature

9 790006 539901

ISMN 979-0-006-53990-1

© 2013 by Bärenreiter-Verlag, KasselBA 9650

p sotto voce

Lento assai

f

Allegro energico

6

11

f marcato

15

18

Sonate

An Robert Schumann

3

3

3

3

3

p agitato

3

p

p


New Issue Title

Piano

Based exclusively on authentic sources

Although the sources to Beethoven’s piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account.Jonathan Del Mar’s scholarly-critical edition corrects misreadings of Beethoven’s autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work.

• FirstUrtexteditionbasedontheauthenticsources

• Numerouscorrectionsintheorchestralparts

• Pianoreductionwithaseparatesolopianopart

BA 9022 BA 9022-90

9 790006 544134

ISMN 979-0-006-54413-4

9 790006 544141

ISMN 979-0-006-54414-1

BA 9022 © 2013 by Bärenreiter-Verlag, Kassel

Flauto

Oboe I, II

Fagotto I, II

Corno I, IIin Sib/B

Pianoforte

Viole

Violoncellie Bassi

f p f

Allegro con brio

f p f

fp f

f

p

f

f p f

fp

fp

Allegro con brio

fp

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fp f

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Tutti

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∑ΩΩ[ ΩΩ

ΩΩ ΩΩ]

Ludwig van Beethoven

À Monsieur Charles NiklNoble de Nikelsberg, Conseiller aulique de sa Majesté Impériale et Royale

Konzert Nr. 2 in Bfür Klavier und Orchester

Opus 19

a 2 ΩΩ[ ΩΩ ΩΩ ΩΩ] ∑

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ΩΩ ΩΩ

ΩΩ ΩΩ

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∑ ∑

Tutti

∑ ∑ ∑ ∑ ∑ ∑

ΩΩ ΩΩ

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º º º º

Violini I

Tutti

º ºº º

ΩΩ ΩΩ

º º

Violini IIº º

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ΩΩ ΩΩ

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º º]

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LudwigvanBeethoven:ConcertoNo.2inB-flat

majorforPianoforteandOrchestra,op.19

BÄRENREITER URTEXTEdited by Jonathan Del Mar

ScoreBA 9022 · approx. € 35.95

Piano reductionBA 9022-90 · approx. € 24.95

Critical CommentaryBA 9022-40 · approx. € 39.95

Violin IBA 9022-74 · approx. € 4.50

Violin IIBA 9022-75 · approx. € 4.50

ViolaBA 9022-79 · approx. € 4.50

Violoncello/Double bassBA 9022-82 · approx. € 4.50

Wind setBA 9022-65 · approx. € 37.95

To appear in November 2013 New Issue Title New Issue Title


New Issue Title

Piano

Beethoven’s “appassionata” in a new light

LudwigvanBeethoven:Sonata in F minor forPianoop.57“Appassionata”

BÄRENREITER URTEXTEdited by Jonathan Del MarWith an introduction by Misha Donat and notes on performance practice by Jonathan Del Mar and Misha DonatBA 10852 · approx. € 7.95

To appear in November 2013

The Sonata in F minor op. 57 (1804/05), a key work in the classical sonata repertoire, is part of Bärenreiter’s ongoing publication of selected Beethoven piano sonatas in Urtext editions. The nickname “Appassionata” was ascribed to the sonata only in 1838, long after Beethoven’s death.This Urtext edition is edited by the Beethoven expert Jonathan Del Mar. His editorial approach and principles are explained in a precisely formulated critical commentary. With a clear well-presented layout and optimum page turns, this edition invites you to discover this fascinating sonata anew. A foreword by Misha Donat examines the genesis and significance of the work, supplemented by informative notes on questions related to historical performance practice.

• Scholarly-criticalUrtexteditionincorporatingthemost

recentresearch

• Optimumpageturns

• Includesnotesonhistoricalperformancepractice(Eng/Ger)9 790006 528165

ISMN 979-0-006-52816-5


pp

4

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9

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dodan a tempo

13

f

ff

16

p pp

12

8

12

8

Allegro assai

À Monsieur le Comte François de Brunsvik

Sonate

op. 57


New Issue Title

Piano

JosephHaydn:CompletePiano

SonatasIV

BÄRENREITER URTEXTEdited by

Bernhard MoosbauerWith fingering and notes on performance practice

by Rebecca MaurerBA 10804 · approx. € 22.50

To appear in December 2013

In his later piano sonatas (Hob. XVI:40–42 and Hob. XVI:48–52) Haydn reveals himself to be a highly-profiled and consummate composer in terms of form and expression. The imaginative masterpieces are an indispensable component of all piano instruction. Volume IV marks the start of the publication of Haydn’s complete piano sonatas in Urtext editions. The editor Bernhard Moosbauer is a musician and musicologist who specializes in the performance of early music. This edition is supplemented by fingering, which enables important aspects of historical playing technique to be applied to the modern pianoforte, as well as notes on performance practice.

• Scholarly-criticalUrtexteditionincludingallsources

•Withdetailednotesonperformancepractice(Ger/Eng)

byRebeccaMaurer

• Informativeforeword(Ger/Eng)onthegenesisandformofthework

• Detailedcriticalcommentary(Eng)9 790006 538478

ISMN 979-0-006-53847-8

The start of the publication of Haydn’s complete piano sonatas

**) Zur Differenzierung von f und fz siehe Vorwort und Critical Commentary. / For the difference of f and fz see Preface and Critical Com-

mentary.


*) Zur Ausführung siehe Hinweise zur Aufführungspraxis. / For execution see Notes on Performance Practice.

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Allegretto e innocente

Hob. XVI:40

Sonate

dédiée à son Altesse Madame La Princesse Marie Esterhazy née Princesse de Lichtenstein

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New Issue Title

Piano

FranzSchubert:SonatainB-flatmajorforPianoD960

BÄRENREITER URTEXTEdited by Walburga LitschauerWith notes on performance practice by Mario Aschauer and Schubert’s drafts of the individual movementsBA 10860 · approx. € 10.95

To appear in October 2013

This new edition replaces the current edition (BA 5634).

Schubert’s Sonata in B-flat major was composed in 1828 and is probably the last instrumental work which he completed. This Urtext edition edited by Walburga Litschauer contains an updated foreword (Ger/Eng) and a critical commentary (Eng) documenting all significant readings of the sources which are relevant for the interpretation of this work. It also takes Schubert’s idiosysncratic, sometimes unclear writing of accents into account. The edition is newly-engraved and contains practical page turns as well as information on performance practice issues by Mario Aschauer.

• Scholarly-criticaleditionbasedontheNew Schubert Edition

• Newlyengravedwithaclearlayout

• Withnotesonperformancepractice(Ger/Eng)

• Schubert’sdraftstothisworkcanbeviewedontheBärenreiter

website

Schubert’s great piano sonata newly engraved

9 790006 543533

ISMN 979-0-006-54353-3

pp legato

Molto moderato

5

pp

10

pp

15

20


23

Sonate in B

beendet: 26. September 1828

finished: 26 September 1828

D 960

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New Issue Title

CésarFranck:CompleteWorksfor

OrganandforHarmoniumVolumeI:EarlyOrgan

Works/Fragments

BÄRENREITER URTEXTIn collaboration with the

International César Franck SocietyEdited by Christiane Strucken-Paland

With a preface by Daniel RothBA 9291 · approx. € 29.95


César Franck: Complete edition of his ...

Organ

Bärenreiter is publishing a new Urtext complete edition of César Franck’s organ works in collaboration with the International César Franck Society. 8 volumes are planned to be published. In addition to all the available sources, hitherto neglected manuscripts have been taken into consideration. In this way, a reliable musical text faithful to the original can be guaranteed. Deviations, doubtful readings and editorial changes are documented in a comprehensive critical commentary. The co-editors include Franck experts such as Christiane Strucken-Paland, Helga Schauerte-Maubouet, Ralph Paland, Tobias Hünermann and Holger Stüwe.

A comprehensive foreword by the Franck specialist Daniel Roth is printed in the first volume. He gives a detailed account of many aspects of Franck’s organ practice and of the interpretation of his organ music.

The edition, which presents such a comprehensive picture of Franck the organist, is supplemented by facsimiles and in-depth information about the relevant organ dispositions. Franck’s influence on French symphonic organ music can scarcely be overestimated.

9 790006 538997

ISMN 979-0-006-53899-7


3e clav.

5

1er clav.

9

Fantasie (1854)

César-Auguste Franck

(1822–1890)

(Pièce pour Grand Orgue)

4

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New Issue Title

Organ

In addition to the “great” organ works, volume I also contains the first publication of all earlier organ works which have come down to us as well as fragments, variants and different versions (for example, of the Fantaisie in C major).

Volume I contents:• Pièce en mi bémol (Fragment) • Andantino• Fantaisie (Pièce pour Grand Orgue)• Fugue du Concours du Dimanche 1840• Prière (Fragment)

• Preface(Fr/Eng/Ger)withdetailednotesonperformancepractice

• Withacomprehensivecriticalcommentary(Eng)

• Numerousillustrationsandfacsimilepages

Publication schedule:

Volume 1: Early Organ Works / FragmentsEdited by Christiane Strucken-Paland · (2013)

Volumes 2 and 3: Six piècesEdited by Christiane Strucken-Paland · (2014)

Volume 4: Trois piècesEdited by Helga Schauerte-Maubouet · (2015)

Volume 5: Trois choralsEdited by Ralph Paland · (2015)

Volume 6: Harmonium WorksEdited by Tobias Hünermann · (2016)

Volume 7: L’Organiste IEdited by Holger Stüwe · (2016)

Volume 8: L’Organiste IIEdited by (name still to be confirmed) · (2017)

César Franck

Christiane Strucken-Paland (Photo: Stefanie Kunde)

... organ and harmonium works


New Issue Title

String Instrument and Organ

JewishPrayer

Works for Viola (Cello) and OrganIncludes two solo parts

for viola and celloEdited by

Semjon KalinowskyBA 11216 · approx. € 19.95


Viola or Cello, plus Organ

Jewish Prayer comprises works of the Jewish late Romantic tradition including one of the repertoire classics for strings Kol Nidrei by Max Bruch. This edition also contains other popular performance pieces such as The Hebrew Melody op. 23 by Albert Kellermann, Elohenu by Friedrich Gernsheim, Sarabande op. 8 by Joseph Sulzer and Prière by Fernand Halphen. These works can be played by professionals as well as experienced amateurs. For possible performances of the complete works, the volume has been compiled as if it were as a concert cycle and completed with a work for solo organ, the Five Festival Preludes by Louis Lewandowski.

SemjonKalinowsky was born in the Ukraine and studied viola at the State Conservatory of Music in Lemberg. He plays as a soloist and chamber musician and was awarded the title of Honoured Artist of Ukraine in 1998.

• High-qualityworksoftheJewishlateRomantictradition

• Inadditiontothesolopartforviolathereisalsoapartforcello

• Forprofessionalsandamateursalike

9 790006 543762

ISMN 979-0-006-54376-2


New Issue Title

Strings

NiccolòPaganini:24CapricciperViolinoSoloop.124ContradanzeinglesiperViolinoSolo(Firstedition)

BÄRENREITER URTEXT Edited by Daniela Macchione BA 9424 · approx. € 16.95


The 24 Caprices by Paganini form a coherent group of works which require the highest degree of technical expertise. Since their publication in 1817 the Caprices have remained the defining milestone of violin technique. Bärenreiter’s scholarly-critical edition is based on the autograph and early prints from various European publishers. The original beaming and articulation have been maintained, thereby setting this new edition apart from the many publications of the last 200 years which incorporated changes and emendations by famous violin virtuosos. In addition to the daunting Caprices, this is the first time that the 24 Contradanze inglesi for solo violin have been published. These simple pieces are each 16 measures in length and exploit various techniques, thus providing a wonderful addition to the solo violin repertoire.This edition offers a spacious layout with many fold-out pages allowing plenty of room to add personal fingering and bowing. A historical introduction in English and German discusses the genesis of the works and traces their influence on violin virtuosos. A source description and critical commentary round out this unique edition.

• Includesthe24 Contradanze inglesiforthefirsttime

• Withfold-outpages

• Largeformatedition:25.5x32.5cm

a wonderful addition to the solo violin repertoire

9 790006 540815

ISMN 979-0-006-54081-5


Andante

4

8

11

15

19

21

241

op. 1Niccolò Paganini

24 Capricci

”“ ]


New Issue Title

Strings

ZdeněkGola:ViolinTechnique

Volume 1BA 9550 · € 15.95

Volume 2BA 9551 · € 14.95

Already published

These exercises are intended for violinists who have a basic knowledge of shifting positions and how to play double stops. At first fixed positions and shifting are practised separately from one another in one and two part combinations. In the second volume these two techniques are combined and consolidated.

The aim of these studies or études is to improve left-hand techniques, enabling the student to execute shifting positions with greater confidence. Gola’s Violin Technique should accompany the violinist throughout his career.

The authorZdeněkGola (*1929) studied at the Brunn Janáček Academy and was subsequently Professor of Violin at the Music Conservatory in Ostrava. In 1966 he emigrated to Sweden, where he made a name for himself as orchestral musician, concert master and soloist as well as pedagogue. He is the author of numerous educational works.

• Newmethodstopractiseandimproveshiftingpositions

• Withbriefdescriptionsinthreelanguages(Cz/Ger/Eng)

• Advancedlevelofdifficulty

New techniques to practise and improve shifting positions

BA 9550 Volume 1 BA 9551 Volume 29 790260 105911

ISMN 979-0-2601-0591-1

9 790260 105928

ISMN 979-0-2601-0592-8

BA 9550

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III. Horizontální cvičení ve dvojhlase

Dvojhmatová technika je jak z intonačního, tak i z hmatového hlediska složitá. U kvart a sext se při přechodu na stejný interval směrem na-horu horní prst nezvedá, ale příčným, klouza-vým pohybem přechází na vedlejší strunu. Při přechodu směrem dolů pak spodní prst pře-chází stejným způsobem. U kvintového hmatu se prst klade více šikmo (na bříško).Pro větší intonační citlivost je účinné cvičit odděleně spodní a horní hlas za současného hmatu obou prstů.

III. Horizontale Übungen in DoppelgriffenDie Doppelgrifftechnik ist sowohl in intonatorischer als auch in grifftechnischer Hinsicht schwierig. Bei Quarten und Sexten hebt sich der obere Finger beim Aufwärtsrücken der Intervalle nicht, sondern vollzieht eine diagonale, gleitende Bewegung, mit der er auf die Nachbarsaite wechselt. Beim Abwärtsrücken verfährt der untere Finger dann auf dieselbe Weise. Beim Quintgriff legt sich der Finger schräger (an den Ballen). Um die intonatorische Empfindsamkeit zu verbessern, ist es ratsam, die obere und untere Stimme getrennt zu üben und dabei gleichzeitig mit beiden Fingern zu greifen.

III. Horizontal exercises in double stops

The double stop technique is a complex mat-ter both in intonation and in fingering. With fourths and sixths, do not raise the upper fin-ger when shifting the same interval higher, but instead use a sideward, sliding motion to reach the next string. When shifting downwards, ap-ply the same instructions to the lower finger.With fifths, the finger is placed at a greater an-gle (resting on its pad).To improve the sensitivity of intonation, it is advisable to practise the lower and upper tones separately while keeping both fingers stopped.

1. poloha / 1. Lage / 1st position

Tercie / Terzen / Thirds

Kvarty / Quarten / Fourths

New Issue Title


New Issue Title

ConcertPiecesforDoubleBassandPiano

Edited by J. Peter Close andHolger SassmannshausDouble bass part and enclosed piano accompanimentBA 9696 · approx. € 19.95


This collection is conceived for young double bass players who wish to start performing in public. The edition contains 18 concert pieces which are easy to rehearse yet sound effective from the Baroque, Classical and Romantic periods. In addition there are newly composed pieces by the Polish bass player Boguslaw Furtok (*1967).

The EditorsHolgerSassmannshaus is a double bass player with the Niederrheinische Sinfoniker, Germany, as well as being a double bass teacher and musician in other ensembles. J.PeterClose teaches violoncello and double bass in Munich.

From the contents:Beethoven, Adagio from the Sonatina for Mandoline and Harpsichord / J. S. Bach, Gigue / Pergolesi, Nina / Fauré, Après un rêve / Dancla, Polka / Tschaikowsky, Chanson triste / de Fesch, Sonate / Fauré, Sicilienne / Saint-Saëns, The Swan, among others.

• Concertpiecesfordoublebassandpianoaccompaniment• Easytomediumlevelofdifficulty• IdealcontinuationofthestringmethodEarly Start on the Double Bass

Strings

9 790006 525546

ISMN 979-0-006-52554-6

Kontrabass Double Bass

Piano

Andante

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Franz Anton Leopold Joseph Keyper(1756–1815)

Klavierauszug / Piano reduction: Andreas Köhs

Romance

∑

Solo

dolce

∑

∑

BA 9696


New Issue Title

GeorgeA.Speckert:FolkfortwoViolins

2 Performance scoresBA 10624 · approx. € 13.95

To appear in September 2013

This collection contains many well-known pieces from the Anglo-American world which are catchy and of a dance-like quality. Some melodies are lively, some dreamy but all are easy on the ear. Both violinists are of equal importance and the melody moves frequently from one player to another. When the player takes on the accompanying role, he occasionally has to substitue the guitar and must play arpeggios and easy double stops. The melody part contains embellishments typical of the style.

From the contents:Morning has broken, All through the night, Scarborough fair, The foggy dew, The rolling of the stones, I’ll fly away and others

GeorgeSpeckert is a composer, author and lecturer in multimedia production and E-learning. He has composed and arranged pieces for numerous Bärenreiter editions.

• Well-knowncatchyfolkmusicpieces

• Evenlybalancedparts

• Entertainingandstreetmusicworthy

anglo-american folk music for two violins

9 790006 543731

ISMN 979-0-006-54373-1

BA 10624© 2013 by Bärenreiter-Verlag, Kassel

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Violin 2

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Shenandoah

strong and proud

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New Issue Title

Arrangements by Speckert already published:

Popular Movie Hitsfor Violin and Piano

BA 10605 · € 13.95

The Roots of Jazzfor Violin and Violoncello

BA 10606 · € 12.95

Tango Classicsfor Violin and Piano

BA 10614 · € 12.95


New Issue Title

VladimirBodunov:ClassicHitsforViolinandViola

2 Performance scoresBA 10626 · approx. € 13.95


Well-known melodies from the Baroque, Classical and Romantic period are arranged by Vladimir Bodunov for violin and viola. Both players are of equal standing, the role of soloist and accompanist changing constantly. The arrangements stand out for their fidelity to the original works.

From the contents: Badinerie from the Orchestral Suite No. 2 (J. S. Bach), Eine kleine Nachtmusik (Mozart), Habanera from Carmen (Bizet), The Hall of the Mountain King from the Peer Gynt Suite (Grieg), Spring from The Four Seasons (Vivaldi) amongst others.

The AuthorThe arranger VladimirBodunov is a versatile musician from Belarus. He performs throughout Europe as a soloist, in orchestras and particularly in duo with his wife Marta Danilkovich.

• Well-knownmelodiesfromtheclassicalrepertoire

Bothpartsofequalimportance

• Idealforplayingatalldifferentkindsofoccasions

appealing arrangements for violin and viola

Arrangements by Bodunov already published:

Violin Classics for two Violins BA 10607 · € 12.95

Beautiful Adagios9 Pieces for two ViolinsBA 10615 · € 12.95

9 790006 543748

ISMN 979-0-006-54374-8

© 2013 by Bärenreiter-Verlag, Kassel

Violin

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Chamber Music

JohannesBrahms:TrioforViolin,

VioloncelloandPianoOpus87

BÄRENREITER URTEXTEdited by Christopher Hogwood

Score with partsBA 9436 · approx. € 22.95


Bärenreiter’s new scholarly-critical edition of op. 87 edited by Christopher Hogwood is based on the score and parts from the first edition; where necessary he also consulted the autograph. The first edition parts were engraved after the manuscript parts and not after the score. Here the readings of the legato phrasing and the dynamics more accurately reflect the composer’s intentions than in the first edition score.

• Informativeintroduction(Ger/Eng)withavaluableinsightintothe

genesisandperformancehistoryofthiswork

• Inalargerformat25.5x32.5cm

• Includesacriticalcommentary(Eng)withfacsimilepages

Brahms’ piano trio in an Urtext edition

9 790006 541102

ISMN 979-0-006-54110-2


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New Issue Title

Chamber Music

Opus 81 has long been one of the pieces of chamber music most frequently played internationally. The present edition is based on the Complete Edition of the Works of Antonín Dvořák, the new detailed foreword is by David Beveridge.

• Oneofthemostfrequentlyplayedchambermusicworks

• NewdetailedforewordbyDavidBeveridge(Cz/Eng/Ger)

AntonínDvořák:PianoQuintetinAmajorop.81

Edited by Antonín ČubrScore with partsBA 9573 ∙ approx. € 23.95 (replaces H 930)


9 790260 105867

ISMN 979-0-2601-0586-7

9 790260 107076

ISMN 979-0-2601-0707-6

BA 9566BA 9573

AntonínDvořák:StringSextetinAmajorop.48

Edited by Antonín ČubrPartsBA 9566 ∙ approx. € 25.95 (replaces H 2116)

To appear in July 2013 The String Sextet in A major was composed during the time when Antonín Dvořák was beginning to become famous. It was written in 1878 during his so-called Slavic period, when the composer was specifically enriching his music with folk elements.This edition is based on the autograph copy as well as the first printed edition of 1879.

• Dvořák’sonlystringquartetreprintedinaBärenreiteredition

• BasedontheComplete Edition of the Works of Antonín Dvořák,

volumeIV/9 New Issue Title

Major chamber music works by antonín Dvořák


New Issue Title

Chamber Music

Major chamber music works ...

AntonínDvořák:PianoTrioinFminor

op.65

Edited by František BartošScore and instrumental parts

BA 9564 ∙ approx. € 20.95(replaces H 2143)

To appear in August 2013The third of Dvořák’s piano trios was written in 1883 in Prague; a revised version appeared in the autumn of 1883 published by Simrock in Berlin based on the direct collaboration with the composer. The principal source of this present edition, based on the Complete Edition of the Works of Antonín Dvořák, is this Simrock publication which presents the final version of the work.

• Newdetailedforword(Cz/Eng/Ger)byHans-JoachimHinrichsenand

IvanaRentsch

• Includesanewly-engravedvioloncellopart

9 790260 107014

ISMN 979-0-2601-0701-4


New Issue Title

Chamber Music

AntonínDvořák:StringQuartetNo.5inFminorop.9

Edited by Jarmil BurghauserPartsBA 9545 · approx. € 17.95 (replaces H 6404)To appear in October 2013

Study scoreTP 535 · approx. € 16.50To appear in October 2013

Dvořák’s String Quartet No. 5 in F minor of 1873 represents, musically speaking, a fundamental re-orientation of the composer. It has nothing that reminds one of his excessive admiration for the music of Wagner and Liszt. Instead, Dvořák re-establishes contact with the classical string quartet tradition.

The autograph score, once in the possession of Dvořák’s heirs, is no longer accessible. This edition is based on the posthumously printed edition of 1929.

• Long-awaitedreprintofthisfamouswork

• WithaforewordbyJarmilBurghauser(Cz/Eng/Ger),updatedand

expandedbyHartmutSchick

... by antonín Dvořák

9 790260 105690

ISMN 979-0-2601-0569-0

TP 535BA 9545

9 790260 105706

ISMN 979-0-2601-0570-6

New Issue Title


New Issue Title

Chamber Music

JosefSuk:PianoQuartetinAminor

op.1

BÄRENREITER URTEXTEdited by Zdeněk Nouza

Score and partsBA 9546 · € 29.50

(replaces H 7733)

Already published

The piano quartet of Josef Suk (1874–1935) quickly became a standard work, not least as a result of the extensive concerts given by the Bohemian Quartet, in which Suk was second violinist.

This is however the first scholarly-critical edition of this work. It is based largely on the revision of the first edition which appeared in 1924 and contains Suk’s alterations of 1914. Further sources include the autograph manuscript as well as newly discovered copies of the parts. Valuable information has also been extracted from the printed parts as the original copies are now no longer extant.

• Firstscholarly-criticaledition

• Includesaforeword(Cz/Eng/Ger)andcriticalcommentary(Eng)

bytheeditor

• StandardworkofCzechmusic

First scholarly-critical Urtext edition

BA 9546 © 2013 by Bärenreiter Praha

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Klavírní kvartet a-moll / Piano Quartet in A minor /

Klavierquartett a-Moll

Josef Suk, op. 1

(1874–1935)

Prof. Dru. Antonínu Dvořákovi

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Klavírní kvartet a-moll / Piano Quartet in A minor / Klavierquartett a-Moll

Josef Suk, op. 1(1874–1935)

Prof. Dru. Antonínu Dvořákovi

9 790260 105744

ISMN 979-0-2601-0574-4


New Issue Title

Study Score

The first performance of Má vlast as a six-part symphonic cycle took place on 5 November 1882. With the founding of the Czech Philharmonic in 1896 this work received a far greater reception. Since 1952 the music festival Prague Spring has opened with this complete cycle.

This edition is based on the Study Edition of the Works of Bedřich Smetana, vol. 14, supplemented by an up-to-date detailed foreword about the genesis and history of the work by Marta Ottlová.

ContentsVyšehrad / Vltava (The Moldau) / Šárka / Z Českých luhů a hájů (From Bohemia’s Woods and Fields) / Tábor / Blaník

• NewforewordbyMartaOttlová(Cz/Eng/Ger)

• UrtextbasedontheStudy Edition of the Works of Bedřich Smetana

Smetana’s “Má vlast”

BedřichSmetana:MávlastMyCountry

BÄRENREITER URTEXTEdited by František Bartoš

Study scoreTP 557 ∙ approx. € 49.50(replaces H 6427)


9 790260 106000

ISMN 979-0-2601-0600-0

(Venkovská svatba*))

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Bärenreiter Urtext: Your next performance is worth it.Think of the time you spend practising and rehearsing for lessons and concerts. Can you really be sure that the music you play from reflects what the composer wanted?

Indeed, works have always been edited reflecting the taste of the time, often leading to a gradual deviation from what the composer had in mind. Most copied or downloaded music comes from old, heavily edited or even faulty editions. How disappointing to realise that you have wasted your time and energy on a musical text you cannot trust.

With Bärenreiter Urtext editions you can have confidence in the validity of the musical text.

But what is an urtext edition?At Bärenreiter the label “urtext” describes a scholarly-critical edition based on all known sources.

In the past, it has often been difficult for musicians to really know if what they were playing was true to the composer’s intentions. Publications were heavily elaborated with editors’ own – often questionable – additions and interpretations. In order to adequately judge the quality of an edition, musicians would need to examine manuscripts and sources themselves.

Bärenreiter takes on all this background work for you, our aim being to produce urtext editions reflecting the latest musicological research. Our editors, experts in their field, strive to set down a work as closely as possible to the composer’s intentions. This isn’t as easy as it sounds. Bärenreiter’s musicologists often have to travel around the world to track down sources for a composition. They work like detectives, deciphering manuscripts which are sometimes almost illegible and evaluating conflicting sources.

What does the word urtext mean?The German prefix ur- literally means “original” or “earliest”. The earliest use of the term urtext goes back to the 19th century where it appeared in connection with literary texts. It referred to the original texts of writers such as Goethe or Shakespeare which scholars tried to restore and free from editorial additions.

In music urtext now is a label used for scholarly-critical editions based on all known sources.

Let’s take this as an exampleIf we take Claude Debussy’s late masterpiece, his Sonata for Violoncello and Piano from 1915, we have no less than 11 sources and this does not even include his correspondence. These sources comprise several copies of the work given by the composer to friends with annotations, but the primary sources are the sketches S , the autograph score A , and the first edition.

The first edition very closely follows the autograph but there has always been a misunderstood symbol in the cello part (movement 2, measure 18). All other editions of this sonata present this symbol o as an open string. But is this correct?

The final note in the bar is the lowest note on the cello, the open C string. There is no reason whatsoever for the composer to have indicated the open string with o as the tone can only be executed as an open string. What if Debussy intended a different execution with the symbol o? If this were the case what could it be? Other than an open string it could mark a harmonic – but for a harmonic he employs the traditional symbol of a diamond shaped head ◊ in the same movement in mm. 8–9.

Looking at Debussy’s autograph, we find no answer to this question. But going back one step in the chronology of the work and looking at the sketches for the composition we find a circle above the note in question and in addition the word pizz. written above it.

This pizzicato has never been published and thus never been performed.

For the first time the Bärenreiter Urtext edition gives justice to Debussy’s intention.

This shows one of many examples that Bärenreiter Urtext is not simply a copy of the autograph or a re-engraving of the first edition; it represents a thorough examination of all aspects of a work enriching our understanding of it with conclusive results.

After so manycantatas I onlyplay for fun.My original workis for the fans.”

“

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Let’s take this as an exampleIf we take Claude Debussy’s late masterpiece, his Sonata for Violoncello and Piano from 1915, we have no less than 11 sources and this does not even include his correspondence. These sources comprise several copies of the work given by the composer to friends with annotations, but the primary sources are the sketches the autograph score

The first edition very closely follows the autograph but there has always been a misunderstood symbol in the cello part (movement 2, measure 18). All other editions of this sonata present this symbol But is this correct?

The final note in the bar is the lowest note on the cello, the open C string. There is no reason whatsoever for the composer to have indicated the open string with o as the tone can only be executed as an open string. What if Debussy intended a different execution with the symbol than an open string it could mark a harmonic – but for a harmonic he employs the traditional symbol of a diamond shaped head ◊ in the same movement in mm. 8–9.





Debussy, Sonata forVioloncello and Piano,

m. 18, BärenreiterUrtext edition BA 9412

Debussy, Sonata forVioloncello and Piano,page from composer’s

autograph

Debussy, Sonata for Violoncello and Piano, composer’s sketch

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Isn’t urtext just a copy of the autograph?As a musician you certainly can appreciate how difficult it can be to grasp what the composer actually intended, especially when we have no recordings of the performances. Simply looking at the autograph – assuming it exists – is not enough. What if the composer made corrections in the first printed edition? Obviously in this case the autograph only provides part of the story of a composition. As many sources as possible need to be assessed in order to compile a Bärenreiter Urtext edition including sketches, letters, autographs, manuscript copies, proofs, first editions, first editions with autograph corrections, contemporary reviews and comments by contemporaries.

No cost or effort is spared by Bärenreiter when it comes to amassing and piecing together all the available information. An indispensable part of every urtext edition is the critical commentary where all editorial decisions and discrepancies between the sources are meticulously recorded. Only in this way can the true genius of the composer and his work be revealed.

What else can I expect from a Bärenreiter Urtext edition?A trustworthy musical text alone does not yet justify the label Bärenreiter Urtext. Integral parts of Bärenreiter Urtext editions are:

• Information on the genesis and history of the work• A description of the sources• Valuable notes on performance practice • A critical commentary explaining all source discrepancies and editorial decisions.

But it’s not all about musicology. Bärenreiter also satisfies your practical needs as a performer. Bärenreiter Urtext editions offer:

• Page turns, fold-out pages, and cues where you need them• For solo string works additional parts with fingering and bowing • In the case of solo concertos and vocal scores straight-forward piano reductions• A well-presented layout and a user-friendly format• Excellent print quality• Superior paper and binding• Solid, “Made in Germany” quality

You can download Mozart’s music.You can’t download his genius!

Des

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DW

Cre

8tiv

e an

d ta

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med

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Your specialist in Bärenreiter Urtext:

Bärenreiter-Verlag · Karl Vötterle GmbH & Co. KG · 34111 Kassel · Germanywww.baerenreiter.com · [email protected] · Printed in Germany · 1/1304/60 · SPA 101_7

I like the digitalage, but nothingcompares tothe original.”

“

Think of your next performanceWith print-outs from downloads you miss out. Your performances miss out.

Don’t waste time by messing with loose paper copies. Build your personal music library with Bärenreiter Urtext editions. Make our editions your own. Take advantage of our expertise and complement it with your personal markings and comments which you will be able to refer to all your life.

Make a Bärenreiter Urtext edition a life-time investment.Your next performance is worth it.

The Bärenreiter film …Renowned conductor and musicologist Christopher Hogwood takes you on a journey through Bärenreiter. Come with us behind the scenes.

You will be given an insight into the editorial and production process of a Bärenreiter Urtext edition. The history of this family-owned company is also revealed.

at www.baerenreiter.com


New Issue Title

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You can download Mozart’s music.You can’t download his genius!

Des

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DW

Cre

8tiv

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Your specialist in Bärenreiter Urtext:

Bärenreiter-Verlag · Karl Vötterle GmbH & Co. KG · 34111 Kassel · Germanywww.baerenreiter.com · [email protected] · Printed in Germany · 1/1304/60 · SPA 101_7

I like the digitalage, but nothingcompares tothe original.”

“

Think of your next performanceWith print-outs from downloads you miss out. Your performances miss out.

Don’t waste time by messing with loose paper copies. Build your personal music library with Bärenreiter Urtext editions. Make our editions your own. Take advantage of our expertise and complement it with your personal markings and comments which you will be able to refer to all your life.

Make a Bärenreiter Urtext edition a life-time investment.Your next performance is worth it.

The Bärenreiter film …Renowned conductor and musicologist Christopher Hogwood takes you on a journey through Bärenreiter. Come with us behind the scenes.

You will be given an insight into the editorial and production process of a Bärenreiter Urtext edition. The history of this family-owned company is also revealed.

at www.baerenreiter.com


New Issue Title

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New Issue Title

Bärenreiter Urtext: Your next performance is worth it.

FreepromotionalmaterialFlyer UrtextSPA 101-7 · 6 pages Din A 4, EnglishSPA 101-9 · 6 pages Din A 4, Japanese

Mobile SPA 101-6 · 5 Motive Size of each image: Din A 5

Flags SPA 101-1 · BachSPA 101-2 · BeethovenSPA 101-3 · BrahmsSPA 101-4 · MozartSPA 101-5 · SchubertSize 50 x 150 cm

Bärenreiter Urtext

Giftsforsale(netprices)Postcards: each € 4.00BA 8097-1 · BachBA 8097-2 · BeethovenBA 8097-3 · BrahmsBA 8097-4 · MozartBA 8097-5 · Schubert20 postcards in a set

Magnets: each € 2.50BA 8098-1 · 5 different magnets in a set

Pencils Faber Castell: each € 2.00BA 8099-1 · 10 pencilsBA 8099-3 · 100 pencils with display box


New Issue Title

Variable Instrumentation

Spirituals for flexible instrumentation

CombocomSpirituals

12 Arrangements for variable instrumentationby Graham BucklandScore and parts in C/B/F/E-flatSeries combocomBA 6699 · approx. € 20.50To appear in September 2013

Already published:

64 Spirituals a cappella BA 7574 · € 17.95

Graham Buckland has arranged a rich variety of spirituals in this edition for variable instrumental ensemble. This edition consists of a full score and five individual instrumental parts. The full score includes a part of piano, keyboard or guitar and also contains the texts to the spirituals for a singer. In some cases additional vocal parts ad libitum are added. All arrangements are compatible with the edition for choir 64 Spirituals a cappella (BA 7574).

The parts include:

• MelodyIinCandBb(violinclef)• MelodyIIinCandBb(violinclef)• MelodyIIIinC(violinclef;bassclef)• MelodyIIIinCandF(violaclef;hornpart)• MelodyIIIinBbandEb(violinclef)

From the contents:Open the window / Go down, Moses / Wade in the water / Joshua fit the battle of Jericho / Amen / Go, tell it on the mountains / King of Kings / Oh when the Saints / Hard trials / O sinner-man / It’s me, Oh Lord / Amazing grace

• Forvariableensemble

• Textstothespiritualsincludedforsingers

• Levelofdifficulty:easytomedium

• Compatiblewith64 Spirituals a cappella(BA7574)

9 790006 536054

ISMN 979-0-006-53605-4

New Issue Title


New Issue Title

GeorgeGershwin:RhapsodyinBlue

forWoodwindQuintet

Arranged by Joachim Linckelmann

Score with partsBA 8612 · € 24.95

Already published

No distribution rights for the USA

Everyone knows the famous clarinet glissando opening to Gershwin’s Rhapsody in Blue, but how many know that the original version was scored for two pianos and that the glissando was initially just an ascending scale?

Joachim Linckelmann’s superb arrangement of this modern classic is based on this original version and, with the exception of two solo piano passages that cannot be realized by a woodwind quintet, the entire work is presented.

• Amajoradditiontothewoodwindquintetliterature

• Includesascoreandfiveparts

• Mediumlevelofdifficulty

Winds

appealing arrangement for woodwind quintet

9 790006 543724

ISMN 979-0-006-54372-4

BA 8612

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© 2013 by Bärenreiter-Verlag, Kassel

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New Issue Title

Contemporary Music / Complete Editions

New publications up to May 2013

CompleteEditions

Franz BerwaldComplete Works, Volume 20 (Part volumes a and b)ModehandlerskanEdited by Margareta RörbyBA 4920-01 Gabriel FauréŒuvres complètes, Series VI, Volume 2Ballad op. 19, Barcarolles, Valses-CapricesEdited by Christophe GrabowskiBA 9468-01

George Frideric HandelHalle Handel Edition, Series I, Volume 9.2acis and Galatea (second version)Edited by Artie HeinrichBA 10700

George Frideric HandelHalle Handel Edition, Series III, Volume 1Dixit DominusRevised new editionEdited by Hans Joachim MarxBA 10704-01

George Frideric HandelHalle Handel Edition, Series II, Volume 29arianna in CretaEdited by Reinhold KubikBA 10705

Johann PachelbelComplete Vocal WorksVolume 10: MotetsEdited by Wolfgang HirschmannBA 10560

ContemporaryMusic

WorksforSaleMatthias PintscherShining forth for trumpet in Bb or CBA 9334

Manfred TrojahnMendelssohns Möwen ein Lied ohne Worte for violoncello soloBA 11043

Dominik SusteckZwischenklänge (2011) for organ solo Series organova, volume 10Edited by Zsigmond SzathmáryBA 11045

WorksforHireDieter ammannunbalanced instability Concert setting for violin and chamber orchestraBA 11117-72

Beat FurrerXENOS III for Ensemble(completed version in three movements)BA 9774-72

Thomas Daniel Schleerufe zu mir, symphonic scene for organ and orchestra op. 80BA 11108-72

Miroslav SrnkaPiano ConcertoBA 11112-72

Manfred TrojahnLibera me for tenor, two bassett horns and low strings BA 11111-72

Contrevenir Musique à la mémoire de H. W. Henze for ensembleBA 11114-72


New Issue Title

GeorgPhilippTelemann:GelobetseiderHerr,

derGottIsrael

Oratorio for St. John’s Day TVWV 1:602/1216

BÄRENREITER URTEXT

Edited by Ute PoetzschVocal score (Ger)

Piano reduction by Andreas Köhs

BA 5899-90 · approx. € 17.95Performance material on hire


Georg Philipp Telemann’s two-part oratorio for St. John’s Day appeared as part of the “great oratorio year” of 1730/31. Originally performed in two parts, before and after the sermon in the Divine Service, Telemann’s work now belongs rather to the concert hall repertoire. This hitherto unknown work, which lasts 45 minutes, is richly scored for soloists including 2 sopranos, alto, tenor and 3 basses accompanied by strings, flutes, oboes, horns and timpani, with further soloists and choirs also being employed. Performances are planned for the Magdeburg Telemann Festival in March 2014 and the Handel Festival in Halle in June 2014.

• Interestingadditiontotherepertoireforchurchaswellasconcert

choirs

• UrtexteditionbasedontheTelemann Musical Works

• Performancepracticeorientatedvocalscore(Ger)

• Bilingualpreface(Ger/Eng)

Choir

Dramatic oratorio

9 790006 543502

ISMN 979-0-006-54350-2

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New Issue Title

Choir

JohannSebastianBach:FestiveChoralSettingsfrom Cantatas

Arranged for Choir and Organ by Ingo BredenbachChoir & Organ seriesBA 7527 · approx. € 13.95*BA 7527-67 Separate organ part available print on demand

To appear in August 2013

These arrangements for choir and organ meet the frequently made request to be able to perform well-known movements from Bach cantatas without the expense of a larger ensemble/orchestra. The cantata movements can be performed in accordance with the church year, but are also suitable for performance in festive services and concerts.

From the contents:Gott, wie dein Name, so ist auch dein Ruhm (BWV 171/ 1) / Bleib bei uns, denn es will Abend werden (BWV 6/ 1) / Wer da gläubet und getauft wird (BWV 37/ 1) / Also hat Gott die Welt geliebt (BWV 68/ 1) / Bringet dem Herrn Ehre seines Namens (BWV 148/ 1)

IngoBredenbach has been working as Cantor and Organist in Tübingen since 2010. Until 2009 he was Professor and Rector at the Hochschule for Kirchenmusik in Tübingen. He has already arranged Gabriel Fauré’s Requiem for the Choir & Organ series.

• Festivechoralmovements(Ger/Eng),arrangedforchoirandorgan

• Forchurchservicesandconcerts

• Easy-to-playorganreductions

Choir & Organ series: Bach cantatas

9 790006 542956

ISMN 979-0-006-54295-6

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New Issue Title*


New Issue Title

FelixMendelssohnBartholdy:

Psalm42op.42

BÄRENREITER URTEXT Edited by John Michael Cooper

Piano reduction by the composer

Score BA 9074 · approx. € 34.95Vocal score (Ger/Eng)

BA 9074-90 · approx. € 9.50Set of winds

BA 9074-65 · approx. € 59.00Organ BA 9074-67 · approx. € 8.95Violin I BA 9074-74 · approx. € 4.95 Violin II BA 9074-75 · approx. € 4.95

Viola BA 9074-79 · approx. € 4.95Violoncello BA 9074-82 · approx. € 4.95Double bass BA 9074-85 · approx. € 4.95


The setting of Psalm no. 42 op. 42 Wie der Hirsch schreit nach frischem Wasser (As the hart pants after the waterbrooks) for soloists, mixed choir and full orchestra dates back to 1837. The well-known Mendelssohn specialist John Michael Cooper has evaluated the first printed edition of the score prepared by the composer himself as well as taking all other important sources into account. This Urtext edition is rounded off by a detailed critical commentary (Ger/Eng). The piano reduction is by Mendelssohn and is an authentic part of this edition.

• PsalmwithalargeorchestralscoringinaUrtextedition

• Bilingualforeword(Ger/Eng)

• OriginalGermanaswellasEnglishtext

• Includesapianoreductionbythecomposer

“as the hart pants ...”

Choir

9 790006 530168

ISMN 979-0-006-53016-8

BA 9074-90 BA 90749 790006 530243

ISMN 979-0-006-53024-3

BA 9074

New Issue Title


New Issue Title

Choir

GerardBunk:SacredChoralMusic

BÄRENREITER URTEXTEdited by Jan Boecker and Klaus Eldert MüllerBA 7548 · € 12.95

Already publishedThe public awareness towards Gerard Bunk’s organ works is growing due to concerts and publications which have appeard. His choral music, however, has so far remained virtually unknown. This first Urtext edition presents his four most important choral works (op. 47, op. 72, op. 77 and op. 83), ranging from three-part female choir right through to eight-part mixed choir. These works are ideal for ambitious choirs who wish to broaden their repertoire to include appealing music in the late Romantic style and which can be performed in concerts as well as church services.

The EditorsJanBoecker is the grandson of Gerard Bunk and editor of the organ and choral works of his grandfather. KlausEldertMüller has been Choirmaster and Organist at the Stadtkirche St. Reinoldi in Dortmund since 2005.

• FirsteverpublicationofBunk’schoralworks

• Withadetailedforewordandcriticalcommentary(Ger/Eng)

• Extensionofrepertoireforambitiouschoirs

• ChoralmusicinthelateRomanticstyle

First ever Urtext-Edition

9 790006 529780

ISMN 979-0-006-52978-0

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45


New Issue Title

Historical-critical Hybrid Editions Subscription Offer

OPERA: Spectrum of European Music Theatre in Separate Editions is dedicated to critical editions of outstanding works of European music theatre from the 17th to the 20th centuries. A total of 21 compositions of French, Italian, German, English, Scandinavian and Slavic origin is being edited. These include specific genres which have seldom been given attention in editorial undertakings until now and which present their own editorial problems, such as ballet, theatre music, melodrama or operetta.

A new feature is the form of the presentation in so-called hybrid editions. While the scores appear in traditional cloth-bound volumes, the musical and textual sources, the editions of the dramatic texts, as well as the critical commentaries are prepared and presented on an electronic platform (Edirom). Thanks to this ability to access the underlying sources, the editorial decisions are completely transparent to the user. This special editorial access being implemented by OPERA’s editions uses the software Edirom, which was developed in a project of the Deutsche Forschungsgemeinschaft (German Research Foundation) based at the University of Paderborn. All components of the electronic part are encoded according to the modern standard of XML. The text components follow the standard of the Text Encoding Initiative (TEI).

The first volumes to appear

• Antonio Salieri, Giambattista Casti: Prima la musica e poi le parole (1786); Ed. Thomas Betzwieser/Adrian La Salvia · BA 8811 • Adolphe Beno t Blaise, Marie-Justine-Beno te Favart: Annette et Lubin (1762); Ed. Andreas Münzmay · BA 8812 • Thomas Arne, Isaac Bickerstaff: Love in a Village (1762); Ed. N.N. · BA 8814 • Ferdinando Paër, Giacomo Cinti: Leonora ossia L’amor conjugale (1804); Ed. Norbert Dubowy · BA 8813 • Peter von Lindpaintner, Johann Wolfgang von Goethe, Carl Seydelmann: Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl Seydelmann (1832); Ed. Antje Tumat · BA 8815

From the main navigator (top right) each desired item may be opened separately. Individual readings from the music and the text editions as well as from the sources are accessed by clicking on the red icons. For each individual reading all relevant sources are displayed in windows, enabling a direct comparison and overview. All windows have zoom and navigation capabilities.

A synoptic view of music and text editions searched either by numbers, scenes, measures or text is made possible by an interconnecting concordance tool which offers navigation by mouse click.

From the main navigator (top right) each desired item may be opened

The editorial project OPERA, based at the Goethe University Frankfurt am Main (until the end of 2012 at the University of Bayreuth), started its work in 2009 under the sponsorship of the Akademie der Wissenschaften und der Literatur Mainz. The project is headed by Thomas Betzwieser, professor of historical musicology at the Goethe University Frankfurt am Main.

The Subscription

The volumes of the historical- critical hybrid edition OPERA can

be purchased individually and, for a limited time, at a reduced

introductory price. They can also be ordered on subscription at

reduced prices.

Each volume contains a preface in German and English along with the

language of the individual work.

25.5 x 32.5 cm, cloth-bound

All of the musical and textual sources, the editions of the

dramatic texts, the editions of the music, as well as the critical

commentaries for each volume are available on a credit-card style

USB flash drive.

The first volume: Salieri/Casti,Prima la musica e poi le parole,

BA 8811

Subscription price: approx. € 320.00Special introductory price valid

until 30 April 2014: approx. € 338.00Retail price from 1 May 2014:

approx. € 376.00


New Issue Title

WolfgangAmadeusMozart:

ConcertArias

BÄRENREITER URTEXTCompilation and foreword

by Thomas SeedorfNotes and suggestions on

perfomance practice by Thomas Seedorf and Uwe Kremp

Piano reductions by Christian Beyer

ConcertAriasIforHighSoprano

BA 9181 · € 26.95 To appear in October 2013

Mozart concert arias in five volumes

These vocal scores of Mozart’s concert and insert arias are based on the New Mozart Edition (NMA). The first three volumes comprise all arias for soprano and orchestra. They are classified according to voice type (high soprano, soprano, low soprano and alto) and arranged chronologically within the volumes.

Unlike the NMA the musical text presented in these editions is free from practical references on performance aspects or suggestions on performance practice. Instead, each volume contains a comprehensive supplement, with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria. In addition, there is a choice of suggestions for the performance of cadenzas and lead-ins as well as a suggestion for the ornamentation of dal segno parts, which are often found in the early Mozart arias.The volumes for tenor and bass are available from 2014.

• Arrangementofariasaccordingtovoicetype• Underlaidtextpresentedintheoriginallanguageonly• AllariatextsaretranslatedintoGermanandEnglishandare printedseperately

9 790006 541300

ISMN 979-0-006-54130-0

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BA 9181

77


New Issue Title

• Idiomaticpianoreductionstotheindividualarias

• Clearandlegiblelayoutofthemusicaltextasalladditional

notesandsuggestionsonperformancepracticeappearinthe

supplementpublishedwitheachvolume

• Performancematerialonhiretoeacharia

(Pleaserefertotherelevantvolumeforfurtherinformation)

ContentsConcert arias I for High Soprano Recitativo A Berenice – Aria (Licenza) Sol nascente, K. 70 (61c)Aria Fra cento affanni, K. 88 (73c)Aria Non curo l’affetto, K. 74bRecitativo Alcandro, lo confesso – Aria Non sò d’onde viene, K. 294Recitativo Popoli di Tessaglia! – Aria Io non chiedo, eterni Dei, K. 316 (300b)Recitativo Ma che vi fece, o stelle – Aria Sperai vicino il lido, K. 368Arie Der Liebe himmlisches Gefühl, K. 119 (382h)Recitativo Mia speranza adorata! – Aria Ah non sai qual pena sia, K. 416Aria Ah! spiegarti, oh Dio, K. 178 (125i/417e)Aria Vorrei spiegarvi, oh Dio!, K. 418Aria No, che non sei capace, K. 419Aria Ah se in ciel, benigne stelle, K. 538

Concert arias II for SopranoAria Per pietà, bell’idol mio, K. 78 (73b)Recitativo Oh, temerario Arbace! – Aria Per quel paterno amplesso, K. 79 (73d)Recitativo Misero me! – Aria Misero pargoletto, K. 77 (73e)Aria Se ardire e speranza, K. 82 (73o)Aria Se tutti i mali miei (first version), K. 83 (73p)Aria Se tutti i mali miei (revised version), K. 83 (73p)Aria Voi avete un cor fedele (K. 217)Recitativo Ah, lo previdi – Aria Ah, t’invola agl’occhi miei – Cavatina Deh, non varcar, K. 272Recitativo Basta, vincesti – Aria Ah non lasciarmi, no, K. 486 (295a)Recitativo Misera, dove son! – Aria Ah! non son io che parlo, K. 369Recitativo A questo seno – Rondeau Or che il cielo, K. 374Aria Nehmt meinen Dank, ihr holden Gönner!, K. 383Recitativo Ch’io mi scordi di te? – Rondo Non temer, amato bene, K. 505Recitativo Bella mia fiamma – Aria Resta, oh cara, K. 528

Concert arias III for Low Soprano and alto Aria Conservati fedele, K. 23 Aria Cara, se le mie pene, K.6: deestAria Alma grande e nobil core, K. 578Aria Chi sà, chi sà, qual sia, K. 582Aria Vado, ma dove? oh Dei!, K. 583Recitativo Ombra felice – Aria Io ti lascio, K. 255

ConcertAriasIIforSopranoBA 9182 · € 29.95To appear in November 2013

ConcertAriasIIIforLowSopranoandAlto BA 9183 · € 19.95To appear in December 2013

9 790006 541317

ISMN 979-0-006-54131-7

9 790006 541324

ISMN 979-0-006-54132-4

Solo Voice

New Issue Title


New Issue Title

Solo Voice

AntonínDvořák:Cypřiše

CypressesforHighVoiceandPiano

BÄRENREITER URTEXTSong cycle based on texts by

Gustav Pfleger-MoravskýEdited by Andreas Frese

BA 9569 · approx. € 23.95


Dvořák, firmly convinced of his love for one of the daughters of the Čermák family, probably the older Josefina, wrote his first song cycle Cypresses in 1865 when he had just turned 24. Even though his arrangement for string quartet is one of the best-known works today, the original version of the songs of 1865 remained in manuscript form until now.

This first ever Urtext edition is based on the autograph. Later versions as well as the printed collection of poems by Pfleger from 1862 were also drawn upon as sources. The musical text is accompanied by an instructive introduction written by the Dvořák scholar David Beveridge.

• FirsteverUrtexteditionofanearlyworkbyDvořák

• Withtranslationsofthesongtexts(Eng/Ger)

• DetailedintroductionbyDavidBeveridge(Eng/Ger/Cz)and

acriticalcommentary(Eng)

First Urtext edition of this song cycle

9 790260 107038

ISMN 979-0-2601-0703-8


Cypřiše / Cypresses / Zypressen

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New Issue Title

Opera

For the rameau jubilee year 2014

Jean-PhilippeRameau:LesFêtesdel’Hymenetdel’AmourBallet héroïque in 1 Prologue and 3 EntréesLibretto by Louis de CahusacEdited by Thomas SouryPiano reduction by François Saint-YvesVocal score (Fr)BA 8858-90 · approx. € 49.50 To appear in August 2013

Dardanus(version1739)Tragédie in a prologue and 5 actsLibretto by Charles-Antoine Le Clerc de la BruèreEdited by Denis HerlinPiano reduction by François Saint-YvesVocal score (Fr)BA 8854-90 · € 69.00Already published

The first version of Dardanus, which was performed at the end of 1739, was composed apparently in only six months and marks a particularly productive phase in Rameau’s career. In a period of only six years five of his major works were performed at the Académie Royale de Musique in Paris. The theme is taken from Greek mythology: The opera describes the war between Teucer (the future founder of Troy), his Phrygian people and the army of Dardanus.

Les Fêtes de l’Hymen et de l’Amour was performed on 15 March 1747 on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Manège de la Grande Écurie in Versailles. This second collaboration between Rameau and Cahusac makes use of the “ballet héroïque” genre, usually known today as “opéra-ballet” based on various story lines which run independently of each other. The score is based on a libretto inspired by Egyptian mythology and freemasonry.

• MilestonesofFrenchBaroqueoperainperformancepractice

orientatedvocalscores

• Withabriefforeword(Fr/Eng)containingsalientinformationonthe

genesisofthework,thesynopsisandtheedition

Music example from: Dardanus · BA 8854-90

9 790006 527922

ISMN 979-0-006-52792-2

BA 8858-90BA 8854-90


New Issue Title

Opera

Janáček’s opera Osud is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janáček in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the Complete Critical Edition of the Works of Leoš Janáček.

• Firstcriticaleditionofthisopera

• Forewordonthegenesisoftheworkanditsreceptionby

JiříZahrádka(Cz/Eng/Ger)

• NewidiomaticpianoreductionbyRasmusBaumann

• SingableGermantranslation

First criticalUrtext edition

LeošJanáček:Osud

Destiny

BÄRENREITER URTEXTThree novel-like scenes

of Fedora Bartošová Edited by Jiří Zahrádka

Piano reduction by Rasmus Baumann

German translation by Claus H. Henneberg

Vocal score (Cz/Ger)BA 9562-90 · approx. € 39.95

Performance material available on hire (OM 2903)


9 790260 107045

ISMN 979-0-2601-0704-5


New Issue Title

Opera

GeorgeFridericHandel:ArminioHWV36

Opera in three actsLibretto by Antonio Salvi

BÄRENREITER URTEXTEdited by Michael PacholkePiano reduction by Andreas KöhsGerman translation by Peter BrennerVocal score (Ital/Ger)BA 4100-90 · approx. € 29.95 Performance material available on hire


Antonio Salvi’s Arminio is one of the best-loved operatic librettos of the Baroque period. Against the historical background of the so-called Battle of the Teutoburg Forest in 9 AD in which the Cherusci leader Arminiusas “Liberator of Germany” (Tacitus) inflicted a devastating defeat on the Romans, Handel’s opera, first performed in 1737, is about the quarrels between the Chatti and the Cherusci. Arminius has married the daughter of his arch-enemy Segestes. When he is imprisoned, Segestes, who has conspired with the Romans, sees his opportunity for revenge.

• UrtexteditionbasedontheHalle Handel Edition

• LibrettoinItalianwithsingableGermantranslation

• Comprehensiveforeword(Ger/Eng)onthegenesisofthework

anditsreception

• Idiomaticpianoreduction

• FirstperformanceinHallein2014

arminius as operatic hero

9 790006 542802

ISMN 979-0-006-54280-2

104

ATTO TERZO DRITTER AKTScena I I. Szene

Piazza nel castello di Segeste, Hof in der Burg des Segestes,con palco apparato di nero mit einem schwarz ausgelegten Blutgerüst

Volk an den Fenstern, und um das Blutgerüst herumPopolo alle finestre, ed intorno il palcorömische Legionen mit Standartenlegioni romane colle insegne

ARMINIUS in Ketten, dann VARUS von einer SeiteARMINIO incatenato, poi VARO da una parte,und SEGESTES von der anderen, später TULLIUSe SEGESTE dall’altra, e poi TULLIO

20. Sinfonia ed AccompagnatoLargo e staccato

3 ARMINIO

A.

Fier te a tro diGrau si ger Schau platz des

6

A.

mor te! or ri da sce na! For se cre de teTo des! Furcht ba rer An blick! Glaubt ihr viel leicht, ihr

8

A.

voi di spa ven tar in tre pi da que st’al ma? Eh! no;könnt mein tapf ’ res Herz da durch in Angst ver set zen? Oh nein,

BA 4100-90


New Issue Title

AntonioSalieri:Primalamusicaepoileparole

Divertimento teatrale in un attoOperetta a quattro voci

Libretto by Giambattista Casti

BÄRENREITER URTEXTEdited by Thomas Betzwieser

Piano reduction by Karl-Heinz MüllerGerman translation by Stefan Troßbach

Vocal score (Ital/Ger)BA 8811-90 · approx. € 29.95

Performance material available on hire


This charming theatrical divertimento belongs to the genre of “metamelodrama” in which the opera itself becomes the subject of the action. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. This masterpiece provides a vehicle for Casti and Salieri to self-reflect on the characters who are part of an opera production (writer, composer) and proves to be a forerunner of Richard Strauss’s Capriccio.

This new edition of the score includes numerous alterations (articulation, stage directions, libretto etc.) that have been incorporated into the vocal score.

• Urtexteditionbasedonthehistorical-criticalhybridedition

OPERA(pp.34-35)

• OriginalItalianlibrettowithsingableGermantranslation

• Comprehensivebilingualforeword(Ger/Eng)

Charming satirical opera

Opera

9 790006 542826

ISMN 979-0-006-54282-6

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BA 7698a


New Issue Title

app Beethoven’s 9th Symphony

See what you can hear! – Beethoven’s 9th Symphony as an app for iPad and iPhonefrom Deutsche Grammophon and Touch Press in the Bärenreiter edition by Jonathan Del Mar

TheBärenreitereditionofBeethoven’s9th SymphonyisthebasisforanewappforiPhoneandiPad,publishedbyDeutscheGrammophonandTouchPress.

FourlegendaryrecordingsfromthecatalogueofDeutscheGrammophoncanbecalledupontheapp:

• BerlinerPhilharmoniker, FerencFricsay(1958)• BerlinerPhilharmoniker, HerbertvonKarajan(1963)• WienerPhilharmoniker, LeonardBernstein(1979),asonVideo• OrchestreRévolutionnaireetRomantique, JohnEliotGardiner(1992)

Therearevariousversionsofthescoreavailable.TheseincludethecompleteorchestralscoreeditedbyJonathanDelMarpublishedbyBärenreiteraswellasasimplifiedversionthathighlightssixkeypartsinwhichindividualinstrumentscanberecognizedintuitively.

Informativeaccompanyingtextsandinterviewsbyfamousconductorsandmusiciansarealsoincludedinthisapp.

Further information on the website:www.baerenreiter.com/en/focus/app-beethovens-9th/


New Issue Title

Your Contacts

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Imprint

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Errors excepted; price changes and delivery terms subject to change without notice. Content valid as of July 2013.

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