Barenreiter

Volume / Series : BÄRENREITER URTEXT
Editor: Finscher, Ludwig
Language: English/German
Pages: 710
Publisher: Barenreiter
Composer / Author: Mozart, Wolfgang Amadeus
This study score is based on Ludwig Finscher’s 1973 edition of ‘ Le nozze di Figaro’ published in the ‘ New Mozart Edition’ and the critical commentary by Ulrich Leisinger published in 2007.
Many of the sources for Mozart’s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ‘ New Mozart Edition’ volume was published. These include the autograph scores of acts 3 and 4, now held at the Biblioteka Jagiello ka in Kraków , significant portions of the original sets of parts and acts 2 to 4 of the conductor’s copy from the first performance of 1786.
These original sources, now available again, offer compelling solutions to several previously unresolved questions, and are reproduced in this study score.
– Edition based on the Urtext of the ‘New Mozart Edition’ reflecting the latest musicological research
– With findings from original sources now available again
– Detailed foreword (Ger/Eng)
CONTENTS
Zur Edition
Vorwort
Editorial Notes
Preface
Index of Scenes and Numbers
Sinfonia
Atto primo
Atto secondo
Atto terzo
Atto quarto
Anhang:
I: Ersatznummern für die Wiener Aufführungen 1789/1791
II: Originale Bearbeitungen
III: Skizzen, Entwürfe und Fragmente
Nachtrag 1997/2002
Nachtrag 2010
Addendum 1997/2002
Addendum 2010
No: 15: Duettino: Rezitativfassung Wien 1786?
No. 18: Aria mit der späteren Fassung des zweiten Teils Wien 1789/1791
No. 19: Sestetto: Ursprünglicher Bläsersatz von T. 88-124
No. 20: Aria: Spätere Fassung Wien 1789?
No. 23: Finale: Fassung ohne Fandango Wien 1786
No. 25: Aria mit Obligatstimmen Flauto und Fagotto Wien 1786?
No. 28: Aria: Ursprüngliche Fassung der Uraufführung von 1786
Atto quarto, in Scena XI: Gestrichene Arietta (Cherubino) vor No. 29 Finale

Volume / Series : BÄRENREITER URTEXT
Editor: Del Mar, Jonathan
Language: English/German
Pages: 78
Publisher: Barenreiter
The two string sextets (op. 18 [BA 9419, TP 419] and op. 36) by Johannes Brahms are amongst the high points of the Romantic string repertoire and some of the most popular chamber music works of all.
The new Bärenreiter Urtext editions, edited by Christopher Hogwood, are the first scholarly- critical editions of these much-performed works. The editor has taken all known sources into consideration including the versions for piano two and four hands which the composer wrote as well as a set of contemporary performing parts which offer variant readings and insights into performance practice during Brahms’ lifetime.
The study scores to each of these works include facsimile pages, a foreword (Ger/Eng) and a critical commentary (Eng) on the work and history of the composition.
– First Urtext editions of these popular chamber music works
– Include variant readings from contemporary parts
– With facsimile pages

Volume / Series : BÄRENREITER URTEXT
Editor: Mahling, Christoph-Hellmut
Language: English/German
Pages: 52
Publisher: Barenreiter
Composer / Author: Mozart, Wolfgang Amadeus

Volume / Series : BÄRENREITER URTEXT
Editor: Nowak, Leopold
Language: English/German
Pages: 164
Publisher: Barenreiter
Composer / Author: Mozart, Wolfgang Amadeus
CONTENTS
Vorwort
Zur Edition
Preface
Editorial note
I. Introitus
II. Kyrie
III. Sequenz
IV. Offertorium
V. Sanctus
VI. Benedictus
VII. Agnus Dei
VIII. Communio

Volume / Series : BÄRENREITER URTEXT
Editor: Mahling, Christoph-Hellmut
Language: English/German
Pages: 54
Publisher: Barenreiter

Volume / Series : BÄRENREITER URTEXT
Editor: Del Mar, Jonathan
Language: English/German
Pages: 114
Publisher: Barenreiter

CONTENTS
Introduction
Preface
Einleitung
Vorwort
Composer / Author: Beethoven, Ludwig van
Symphony No. 7 A major op. 92:
Duration (approx.): 00:38:00
Poco sostenuto – Vivace
Allegretto
Presto – Assai meno presto
Allegro con brio

Το φθινόπωρο του 1827 ο Schubert συνέθεσε οκτώ “Impromptus” για δημοσίευση ως πλήρη συλλογή από τις εκδόσεις Haslinger στη Βιέννη . Το όνομα των έργων που κατά πάσα πιθανότητα προήλθε από τον εκδότη Haslinger και του Schubert το χρησιμοποίησε επίσης για τη μεταγενέστερη συλλογή του, Op.142. Τα λυρικά-ρομαντικά έργα είναι κατάλληλα για προηγμένους μαθητές πιάνου. Ο Robert Schumann που τα θεωρούσε ως μέρος μίας σόνατας τεσσάρων έργων, επέστησε την προσοχή στη δεύτερη συλλογή που δημοσίευσε η Diabelli το 1839 στην ανασκόπηση του.
Για πρώτη φορά αυτή η σημαντική ακαδημαϊκή έκδοση της Urtext παρουσιάζει το μουσικό κείμενο της “New Schubert Edition” σε νέα εκτύπωση και με γρήγορη εναλλαγή σελίδων. Λεπτομερής πρόλογος, προτάσεις για τις επιδόσεις και σημειώσεις για την αξιολόγηση των πρωτογενών πηγών συμπληρώνουν την έκδοση.

Περιεχόμενα:

Schubert, Franz

Four Impromptus op. 90 – D 899:

 

Schubert, Franz

I. Impromptu C minor

 

Schubert, Franz

II. Impromptu E flat major

 

Schubert, Franz

III. Impromptu G flat major

 

Schubert, Franz

IV. Impromptu A flat major

 

Schubert, Franz

Four Impromptus op. post. 142 – D 935:

 

Schubert, Franz

I. Impromptus F minor

 

Schubert, Franz

II. Impromptus A flat major

 

Schubert, Franz

III. Impromptus B flat major

 

Schubert, Franz

IV. Impromptus F minor

Σελίδες: 84Γλώσσα: Αγγλικά, ΓερμανικάΕκδόσεις: Barenreiter

Since their creation, Ludwig van Beethoven’s string quartets have fascinated and disturbed listeners and performers, lovers and connoisseurs through their free dealings with the norms of the genre and the listener’s expectations, as well as through their untamed imagination. With this book, Beethoven’s uncompromising path from the quartets op. 18 to his last five string quartets and the “Great Fugue” op. 133 is understandable step by step:
– Peter Gülke reflects on Beethoven’s “Music of the Other Time”.- Emil Platen describes the genesis of the last quartets from the first idea to performances to publication on the basis of musical autographs and transcripts, correspondence and conversation books.- Gerd Indorf treats each quartet on a set of about 100 pages sentence by sentence and presents their ideas and forms in a generally comprehensible form. Time indications are supplemented by minutes / seconds based on the recording of the Leipzig string quartet, so that the explanations are comprehensible even without notes ,- Matthias Moosdorf, the cellist of the Leipzig String Quartet, comments on the performance practice.- Peter Korfmacher portrays the most important complete recordings.
A “musical picture noise” offers the attached video-audio DVD with the “Big Fugue”. It can not only be heard in the interpretation of the Leipzig String Quartet, but also in moving pictures: its fascinating sound world can be experienced in a new way as video art.
 
Pages: 154
Language: German
Publisher: Barenreiter

Volume / Series : BÄRENREITER URTEXT
Editor: Sobaskie, James William
Language: English, French, German
Pages: 30
Publisher: Barenreiter
Gabriel Fauré’s only string quartet which was composed in 1923-24 is the composer’s final work and was written at the suggestion of his publisher Jacques Durand. Until then, Fauré had always put off writing a string quartet, evidently because of Beethoven’s imposing shadow.
When Fauré composed the quartet he was already extremely ill. He added dynamics   and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse’s additions were however very extensive; he even altered and supplemented some of Fauré’s own markings in the exposition. Bärenreiter’s first ever scholarly critical edition of the quartet utilises all sources including the composer’s letters which provide valuable insights into the origins of the composition.
In particular, Fauré’s penultimate work, the Piano Trio op. 120, was used to guide the editor with his emendations.
– First scholarly-critical edition of this work
– High-quality Urtext edition based on “the Complete Works of Gabriel Fauré”
– Standard repertoire work for every string quartet
– Foreword (Eng/Fr/Ger)
CONTENTS
Introduction
Editorial Notes
Introduction
Notes sur l’édition
Einführung
Zur Edition
Composer / Author:
Fauré, GabrielQuatuor à cordes

Language: German/English
Product format: Piano reduction, Part
Instrumentation: Violin Solo, Piano
Solo Pages: 9
Piano Pages: 11
Publisher: Barenreiter
CONTENTS
When the young Marlene Dietrich took violin lessons in Dessau from Friedrich Seitz (1848-1918), did she have this concerto in her repertoire? Whatever the case, her career, as we all know, took off on a different slant. But the Student Concerto in G major, op. 13, advanced to become one of the most popular and effective recital pieces for young violinists en route to the great concert stage.
Friedrich Seitz was a concertmaster and violin teacher, first in Magdeburg and later, from 1884, in Dessau. He published his op. 13 concerto in 1893. It is laid out in the conventional three movements: a charming Allegro non troppo poised between concert and salon music, a sentimental Adagio in a minor key, and a merry Rondo in 6/8 metre as a finale. Like almost every work by this passionate music educator, it stands in the facile e brillant tradition, achieving maximum impact with minimum technical demands while adopting the posture of a virtuoso concerto. A solid command of the first position is sufficient for its performance, with good left- and right-hand coordination required in the fast passages. The learner’s technical skills are honed on simple double stops and détaché, legato and elementary spiccato bowing. Typical formal sections, such as a cadenza in the opening movement, and lovely, memorable melodies, call for an imaginative delivery: students learn how much fun it can be to play ‘virtuoso’ music!
This edition appears in the Bärenreiter’s Concert Pieces series, which includes popular concertos and concert pieces for young violinists. The editor is the internationally acclaimed violin teacher Kurt Sassmannshaus, who has added fingering and bowing to the solo part and explains the technical requirements in a short preface.
– One of the most popular and effective student concertos of the 19th century
– Written entirely in first position
– Includes a solo part and a score with the piano accompaniment
– Short preface in German and English with information on technical requirements