Barenreiter

  • Barenreiter Rossini – The Barber of Seville (Italian)

    Volume / SeriesWorks of Gioachino Rossini. 2
    EditorBrauner, Patricia B.
    Instrumentation of the workSoloists, Choir, Orchestra
    Language(s) of workItalian
    Product formatEdition of selected works, Score, Urtext edition
    BindingLinen
    Pages / FormatLXXIV, 552 S. – 33,0 x 26,0 cm
    Bärenreiter’s publication of a new volume of the “Works of Gioachino Rossini”, in collaboration with the Center for Italian Opera Studies at the University of Chicago, makes available an edition of the opera “Il barbiere di Siviglia” which meets modern demands. The editors have recently identified numerous carelessly edited places in the last critical edition by referring to additional sources. The greatest changes relate to the overture; for the new edition, no fewer than twenty different autograph manuscripts have been consulted.A detailed appendix containing alternative vocal parts, advice on ornamentation and compositions by Rossini significant in the performance history of the opera complete the volume.A 420-page Critical Commentary is published separately. With this, a critical edition is now available to interpreters, enabling them to perform Rossini‘s „Barber of Seville” with the greatest possible confidence in the accuracy of the musical material. The performance material is available on hire, and a vocal score will be published at the end of 2009.Through 1829 Rossini was an extraordinarily prolific composer of operas, comic, serious, and semiserious, in Italian and French, as well as of a great deal of vocal and instrumental music. He composed sacred music, vocal treatises, cantatas. Then, for many different reasons, he wrote very little music for more than twentyfive years, if we except some songs and the ‘ Stabat Mater’ . Only after he left Italy definitively for Paris in 1855 did he find his voice again.Between 1857 and 1868 a fresh group of masterpieces issued from his pen, the so-called ‘ Péchés de vieillesse’ (Sins of Old Age), including chamber music, songs, and the ‘Petite Messe Solennelle’.Bärenreiter in cooperation with the Center for Italian Opera Studies at The University of Chicago will publish ten volumes in the series Works of Gioachino Rossini, in critical editions, during the period 2007–2011. These are all volumes that were not issued in the “Edizione critica delle opere di Gioachino Rossini”.
    Editorial Policy
    Criteri redazionali
    Abbreviations – Abbreviazioni
    Principal Sources – Fonti principali
    Preface
    Prefazione
    Facsimiles – Facsimili
    Orchestra – Organico
    Characters – Personaggi
    Libretto
    Il barbiere di Siviglia [Almaviva o sia L’inutile precauzione]:
    Sinfonia
    Act I – Atto I
    Act II – Atto II
    Appendix I – Appendice I:
    Vocal variants of Rossini – Varianti vocali di Rossini
    Appendix II – Appendice II:
    Recitativo ed Aria [Rosina] (N. 14bis) added by Rossini for / aggiunto da Rossini per Joséphine Fodor-Mainvielle (Venics, 1819) / (Venezia, 1819)
    Appendix III – Appendice III:
    Two documented revivals from 1816 – Due piprese documentate del 1816
     

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  • Rossini – The Barber of Seville Critical Commentary

    Editorial Policy
    ​Abbreviations
    ​Principal Sources
    ​Sources
    ​Critical Notes:
    ​Sinfonia
    ​Act I
    ​Act II
    ​Appendix I: Vocal variants of Rossini for the Cavatina Rosina (N. 5), the Duetto Rosina – Figaro (N. 7), and the Terzetto (N. 16)
    ​Appendix II: N. 14bis Recitativo ed Aria [Rosina]
    ​Appendix III: Two documented revivals from 1816: Bologna and Florence: N. 11a Cavatina Rosina / N. 8a Aria Bartolo
    ​Appendix IV: Revivals in Naples
    ​Appendix V (by Will Crutchfield): Early vocal ornamentation

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  • Barenreiter Bach – Complete Orchestral Works

    Product format: Study score, Urtext edition, Anthology
    Comments: 2 Volumes
    Publisher: Bärenreiter
    Binding: Paperback
    Pages / Format 23,5 x 17,0 cm
    Weight: 2805 g
    · Composer / Author: Bach, Johann Sebastian
    Band 1: 4 Ouvertüren (Orchestersuiten) BWV 1066-1069
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Brandenburgische Konzerte BWV 1046-1051 mit der 1. Fassung des Concerto I (Sinfonia F-dur BWV 1046a) und BWV 1050a (Frühfassung)
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Verschollene Solokonzerte in Rekonstruktionen:
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Violinkonzert d-moll nach BWV 1052
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Oboe d’amore-Konzert A-dur nach BWV 1055
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Violinkonzert g-moll nach BWV 1056
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für Oboe und Violine c-moll nach BWV 1060
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für 3 Violinen D-dur nach BWV 1064
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für Violine a-moll BWV 1041
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für Violine E-dur BWV 1042
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für 2 Violinen d-moll BWV 1043
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzert für Flöte, Violine und Cembalo a-moll BWV 1044
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Band 2: 6 Konzerte für Cembalo BWV 1052-1057
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    2 Konzerte für Cembalo BWV 1058, BWV 1059 (Fragment)
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    C. Ph. E. Bach: Konzert für Cembalo d-moll nach J. S. Bach BWV 1052a
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzerte für zwei Cembali BWV 1060-1062
    Instrumentation: Orchester
     
    · Composer / Author: Bach, Johann Sebastian
    Konzerte für drei und vier Cembali BWV 1063, 1064, 1065
    Instrumentation: Orchester

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  • Rossini – Petite Messe Solennelle

    The “Petite Messe solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18 th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.The piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.
     
    Pages:145Language:English,GermanPublisher: Barenreiter

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  • Berlioz – Die Trojaner [Vocal Score]

    Berlioz, Hector – Les Troyens

    Language: German/French/English
    Product format: Opera
    Pages: 580
    Binding: Hardback
    Publisher: Barenreiter
    CONTENTS
    The vocal score to “Les Troyens ” presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863, Berlioz perceived “Les Troyens ” as one opera. Because of performance difficulties, the composition had to be divided into two operas, “La Prise de Troie ” and “Les Toyens à Carthage ”.
    Berlioz began to write the libretto in Paris in April 1856 and completed it on June 26th of that same year. The dramatic material of acts III-V is taken from books 1 and 4 of Virgil’s “ Aeneid ”.
    The two trojan acts are loosely based on books 1 and 2 by Virgil.
    Berlioz wrote in May 1861: “I am sure that I have created a great work, greater and superior to anything I have ever written before”.
    The vocal score is based on the three-volume New Berlioz Edition and also on the one-volume vocal score edition that under Berlioz’s supervision, was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifth act.

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  • Barenreiter Mozart – Le Nozze di Figaro KV492 [Pocket Score] Βιβλίο για σύνολα

    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

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  • Mozart – The Complete String Quintets

    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in B flat major KV 174
    Occupation:
    Violin (2), Viola (2), Cello
    ·
    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in C major K. 515
    Occupation:
    Violin (2), Viola (2), Cello
    ·
    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in G minor K. 516
    Occupation:
    Violin (2), Viola (2), Cello
    ·
    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in C minor K. 406 (516b)
    Occupation:
    Violin (2), Viola (2), Cello
    ·
    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in D major K. 593
    Occupation:
    Violin (2), Viola (2), Cello
    ·
    Composer / Author:
    Mozart, Wolfgang Amadeus
    Quintet in E flat major KV 614
    Occupation:
    Violin (2), Viola (2), Cello
     
    Pages; 64/63/63/63/63

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  • Mozart – Cosi Fan Tutte KV588

    In the space of a few months, in the autumn and winter of 1789, Mozart filled more than 650 pages of a score that shows practically no signs of mental or physical exertion. The result was one of his most profound operas, Così fan tutte , which has held listeners spellbound with its blend of bitterness and comedy to the present day.Our new easy-to-play vocal score is based on the volume edited by Faye Ferguson and Wolfgang Rehm for the “New Mozart Edition” (NMA II/5/18) and on the latest scholarly findings from the critical commentary published by Henning Bey and Faye Ferguson in 2003.
     
     
    Pages:441Language: English,GermanPublisher:Barenreiter

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  • Barenreiter Gallois – The Techniques of Bassoon Playing & 2 CD’s 1Βιβλίο για φαγκότο

    Pascal Gallois is one of the leading international bassoonists. His book on the bassoon, which is the latest in the Bärenreiter series of books on instrument playing techniques, systematically explains for the first time all the playing techniques and different ways of creating sound on the   instrument. Using appropriate examples, it shows the player how to master these techniques and provides information for composers about the instrument’s possibilities as well as special notation. The book contains a CD recorded by Pascal Gallois with examples of sound techniques and information. This long-awaited book will be an essential tool for composers, interpreters and teachers, as well as for conductors, who want to keep abreast of the latest technical possibilities on the bassoon.   – Comprehensive description of all relevant, new playing techniques on the bassoon – Clear explanation of special tonal effects and practice tips to try out – CDs with examples of all playing techniques – Tried and tested on all common makes of bassoon, with tips for all instruments in the bassoon family – Text in three languages (Ger/Eng/Fr)
    Contents

    Geleitwort/Preface/Préface
    1. Einleitung/Introduction/Introduction
    2. Traditionelle Effekte und neue Klänge/Traditional Effects and Current Sounds/Effets traditionnels et sons actuels
    3. Spektrale Effekte/Spectral Effects/Effets spectraux
    4. Perkussive Effekte/Percussive Effects/Effets percussifs
    5. Effekt ohne Rohr/Effects Without the Reed/Effets sans anche
    6. Vibrato/Vibrato/Vibrato
    7. Luftgeräusch/Air Noise/Bruits avec l’air
    8. Natürliche Atmung und Zirkularatmung/Natural Breathing and Circular Breathing/Respiration naturelle et respiration circulaire
    9. Triller und Tremoli/Trills and Tremoli/Trilles et trémoli
    10. Glissando/Glissando/Glissando
    11. Mikrotonalität/Microtonality/Microtonalité
    12. Fagott Plus/Bassoon Plus/Basson et…
    13. Die Akustik des Fagotts/Bassoon Acoustics/Acoustique du basson
    14. Das Kontrafagott/The Contrabassoon/Le Contrebasson
    15. Ratschläge für Fagottisten zur Beschäftigung mit dem neuen Repertoires/Advice too Bassoonists when Approaching the New Repertroire/Conseils aux bassonistes face au nouveau répertoire
    16. Anhänge/Appendices/Appendices
    Über den Autor/About the Author/Sur l’auteur

     
     
    Pages: 126Language: German, English, FrenchPublisher: Barenreiter

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  • Barenreiter Rameau – Pièces de Clavecin Βιβλίο για πιάνο

    This edition consists of the collections Premier “Livre” (1706), “Pièces de Clavecin” (1724, 1731), “Nouvelles Suites de Pièces de Clavecin” (ca. 1728), “Cinq Pièces” (1741) and “La Dauphine” (1747). The musical text is based exclusively upon the composer`s own First Editions, for we no longer possess autograph manuscripts of Rameau’s harpsichord compositions, with the single exception of “La Dauphine”. The original ornament signs are employed throughout. The written texts appended by Rameau to the Second and Third Collection of his harpsichord pieces are here reproduced for the first time together with complete English and German translations. The facsimile reproductions have been included in order to assist the performer better to assimilate.
    Contents

    Premier Livre (1706)
    Prélude
    Allemandes
    Courante
    Gigue
    Sarabande
    Véntienne
    Gavotte
    Menuet
    Pièces de Clavecin (1724, 1731)
    Über die Fingertechnik beim Cembalospiel
    Allemande
    Courante
    Gigues en rondeau
    Le Rappel des Oiseaux
    Rigaudons
    Double du 2me Rigaudon
    Musette en rondeau
    Tambourin
    La Villageoise (Rondeau)
    Les Tendre Plaintes (Rondeau)
    Les Niais de Sologne, doubles des Niais
    Les Soupirs
    La Joyeuse (Rondeau)
    La Follette (Rondeau)
    L’Entretien des Muses
    Les Tourbillons (Rondeau)
    Les Cyclopes (Rondeau)
    Le Lardon (Menuet)
    La Boiteuse
    Nouvelles Suites de Pièces de Clavecin (ca.1728)
    Allemande
    Courante
    Sarabande
    Les Trois Mains
    Fanfarinette
    La Triomphante
    Gavotte
    Doubles de la Gavotte
    Les Tricotets (Rondeau)
    L’Indifférente
    Menuets
    La Poule
    Les Triolets
    Les Sauvages
    L’Enharmonique
    L’Egyptienne
    “Cinq Pièces” (1741)
    La Livri (Rondeau)
    L’Agaçante
    La Timide (2 Rondeaux)
    L’Indiscrète (Rondeau)
    La Dauphine (1747)

     
     
    Pages: 112 Language: English, German, French Publisher: Barenreiter

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  • Bach – Six Suites For Cello Solo BWV 1007-1012 German

    A unique edition – all readings at a glanceThis new edition, in contrast to the array of Bach Cello Suite publications available today, has made use of all the five sources which have come down to us. The basis for this edition is the most reliable of the sources, the manuscript copy in the hand of Anna Magdalena Bach. All variant readings from the four other sources are clearly laid out for performance. Cellists now have the possibility of rendering performances based on just one of the five sources as well as the option of combining the sources in a mixed version.
     
     
    Content:
     
    Composer / Author: Bach, Johann Sebastian
    Suite I BWV 1007
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Suite II BWV 1008
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Suite III BWV 1009
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Suite IV BWV 1010
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Suite V BWV 1011
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Suite VI BWV 1012
    Instrumentation: Cello
     
    Composer / Author: Bach, Johann Sebastian
    Appendix: Suite V in Standard Tuning BWV 1011
    Instrumentation: Violoncello

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  • Barenreiter Bach – Six Suites For Cello Solo BWV 1007-1012 Βιβλίο για τσέλο

    This edition, in contrast to the array of Bach Cello Suite publications available today, has made use of all the five sources which have come down to us. The basis for this edition is the most reliable of the sources, the manuscript copy in the hand of A. M. Bach. All variant readings from the four other sources are clearly laid out for performance. Cellists now have the possibility of rendering performances based on just one of the five sources as well as the option of combining the sources in a mixed version.

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  • Beethoven – Symphony No. 9 in D minor op. 125 Critical Commentary

    Scoring: Picc.2.2.2.2.Kontra – 4.2.3.0 – Timp.Perc – Strings
    Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven’s Nine Symphonies edited by the first-class musicologist Jonathan Del Mar. The editorial process was a massive undertaking because of the complex source situation regarding Beethoven’s Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was unsurprising that Bärenreiter’s new Urtext edition caused a considerable stir in the music world.
    Since its publication, Del Mar’s edition enjoys the unabashed praise of conductors, performers and critics alike. It has become the most widely used publication of the Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.
    Facsimiles
    Signs and conventions
    Sources
    Critical Commentary: I, II, III, IV
    Contrabassoon: Critical Commentary
    Appendix
    Bibliography

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  • Barenreiter Bach – Six Brandenburg Concertos BWV 1046-1051 [Pocket Score] Βιβλίο για σύνολα

    Περιεχέμενα
    Composer / Author:Bach, Johann SebastianNr. 1: BWV 1046, F-dur. V-picc,3 Ob,Fag,2 Hn,Str,BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianNr. 2: BWV 1047,F-dur. Bfl-A,Ob,Trp,V,Str,BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianNr. 3: BWV 1048, G-dur. Str(3 V,3 Va,3 Vc),BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianNr. 4: BWV 1049, G-dur. 2 Bfl-A,V,Str,BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianNr. 5: BWV 1050, D-dur. Fl,V,Cemb,Str,BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianNr. 6: Str(2 Va,2 Vagb,Vc,KB),BcInstrumentation:Orchester (2)·Composer / Author:Bach, Johann SebastianAnhang: Erste Fassung des Concerto I (Sinfonia) BWV 1046aInstrumentation:Orchester (2)
     
     
    Σελίδες: 280Γλώσσα: Γερμανικά, ΑγγλικάΕκδόσεις: Barenreiter

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  • Schubert – Piano Sonatas I – The Early Sonatas

    Unique comprehensive edition of Schubert’s early piano sonatas
    Many drafts and early versions reproduced for the first time in a performing edition
    Composer / Author: Schubert, Franz
    Klaviersonaten I: 1. Sonate in E, D 157
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    2. Sonate in C, D 279
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    3. Sonate in E, D 459
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    4. Sonate in a, D 537, op. post. 164
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    5. Sonate in As, D 557
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    6. Sonate in e, D 566
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    7a. Sonate in Des/Es,D 568 (Erste Fassung in Des)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    7b. Sonate in Des/Es, D 568, op. post. 122 (Zweite Fassung in Es)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    8. Scherzo in D, D 570 (siehe Anhang Nr. 9)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    9. Sonate in H, D 575, op. post. 147
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    Anhang: Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    1. Sonate in E, D 154
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    2. Rondo in C, D 309 A
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    3. Sonate in e, D 566 (Erste Fassung des ersten Satzes)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    4. Sonate in Des/Es, D 568 (Erste Fassung in Des, Fassung des ersten Satzes nach der ersten Niederschrift)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    5. Sonate in Des/Es, D 568 (Fragment des zweiten Satzes in d)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    6. Sonate in Des/Es, D 568 (Erste Fassung in Des, Fragment des dritten Satzes)
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    7. Sonate in fis, D 571
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    8. Allegro in fis, D 570
    Instrumentation: Klavier
    Composer / Author: Schubert, Franz
    9. Scherzo in D, D 570
    Instrumentation: Klavier
    Composer / Author:,Schubert, Franz
    10. Sonate in H, D 575 (Entwurf zum ersten Satz)
    Instrumentation: Klavier

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  • Barenreiter Mendelssohn – Sonatas Βιβλίο για Πιάνο και Βιολί

    This is the first Urtext edition of Mendelssohn’s Sonatas for Violin and Piano. It contains the early Sonata in F major of 1820 and the Sonata in F minor of 1823, which the 14-year-old composer began with an extended solo recitative for the violin. The edition also includes two versions of the F major sonata of 1838 which Mendelssohn began revising in 1839, though this was restricted to the revision of a major part of the first movement.
    These works, similar in difficulty to Franz Schubert’s Sonatinas , are published here in a scholarly-practical edition. The critical edition contains all Mendelssohn’s complete sonatas for these instruments. Hoshino’s Critical Commentary offers valuable information on the history and genesis of the compositions and their sources. Several facsimile pages complete   this important new edition.
    – First Urtext edition of Mendelssohn’s Violin Sonatas (including facsimile pages)
    – With an Urtext violin part, together with a second version of the violin part including fingerings and bowings by Takeshi Kiriyama
    – Moderate technical standard
    Contents
    Vorwort / Preface
    Faksimiles / Facsimiles
    Sonata in F / in F major, 1820
    Sonata in f / in F minor op. 4, 1823
    Sonata in F (Erste Fassung) / in F major (First Version), 1838
    Sonata in F (Zweite Fassung) / in F major (Second Version), 1839
    Critical Commentary
     
     
     
    Editor: Hoshino, Hiromi / Kiriyama, Takeshi
    Score Pages: 111
    Violin Part Pages: 29
    Language: English, German
    Publisher: Barenreiter

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  • Barenreiter Mozart – The Ten Celebrated String Quartets [Pocket Score] Βιβλίο για σύνολα

    Volume / Series : BÄRENREITER URTEXT
    Editor: Finscher, Ludwig
    Language: English/German
    Pages: 308
    Publisher: Barenreiter
    Composer / Author: Mozart, Wolfgang Amadeus
    CONTENTS
    Streichquartette: KV 387 G-dur
    KV 421 d-moll
    KV 428 Es-dur
    KV 458 B-dur (Jagdquartett)
    KV 464 A-dur
    KV 465 C-dur (Dissonanzen-Quartett)
    KV 499 D-dur
    KV 575 D-dur
    KV 589 B-dur
    KV 590 F-dur

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  • Mendelssohn – Concerto In E Minor Op.64 1844-1845

    Mendelssohn Bartholdy, Felix
    Concerto for Violin and Orchestra in E minor Op.64
    Early version 1844 and late version 1845
    Set of Two Books ( Piano Reduction & Violin Part)
     
    In 1838 Felix Mendelssohn wrote to the violin virtuoso Ferdinand David informing him that he was working on a violin concerto “… the opening theme, one in E minor runs through my head and it gives me no peace”; the concerto in the state described by Mendelssohn to David was never published in a performing edition – it was only rediscovered in 1988.
    One would think that such an important work would be adequately represented in modern editions true to the sources. Alas not even the score used today represents the orchestral parts Mendelssohn saw to print in 1845, but one heavily edited in the 1860s by Julius Rietz for the Mendelssohn Complete Edition.
    For the Bärenreiter Urtext edition, the Mendelssohn specialist R. Larry Todd has edited both the original version of the concerto as well as the later version known today.
    The first version of the concerto calls for the soloist to perform the orchestral tuttis , contains a shorter cadenza by Mendelssohn, many solo violin pitches in different octaves, passages with different orchestral scoring and many many surprises regarding articulation and dynamics.
    The later version goes back to the first edition orchestral parts published in 1845 and the piano reduction sanctioned by Mendelssohn.
    Todd makes use of all known sources including the letters between Mendelssohn and David as well as Mendelssohn and the original publishers where general schemes as well as specifics of articulation were exchanged.
    This first ever Urtext edition of one of the most popular violin concertos in the repertoire finally gives performers the opportunity of playing just what Mendelssohn wrote.
     
     
     
    Editor: Todd, R. Larry
    Violin PerformancePart: Wulfhorst, Martin
    Score Pages: 89
    Violin Part Pages: 32×2
    Language: English, German
    Publisher: Bärenreiter

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  • Barenreiter Beethoven – String Quartets Op.59 Critical Commentary

    Facsimiles
    Signs and conventions
    Sources
    Critical Commentary:
    Quartet in F major op. 59 no. 1
    Quartet in E minor op. 59 no. 2
    Quartet in C major op. 59 no. 3
    Appendices
    Bibliography

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  • Barenreiter Beethoven – Fidelio [Vocal Score] Βιβλίο για Όπερα

    Beethoven, Ludwig van – Fidelio Op.72
    Language: German/English
    Product format: Opera
    Pages: 251
    Publisher: Barenreiter

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  • Hanpeter – Schmitz Floten Lehre 1

    Schmitz, H: Flute Method, Vol. 1 (with fingering & trill chart)
    Composer / Author:
    Schmitz, Hans-Peter
    Von der Notierung der Musik und ihren Bezeichnungen
    Instrumentation: Flute
     
     
     Pages:134Language: GermanPublisher:Barenreiter

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  • Schubert – Quintet in A major op. post. 114 D 667

    In the summer months of 1819, 1823 and 1825, Schubert traveled with Johann Michael Vogl, his great singer and friend, to Upper Austria and his homeland of Steyr for several weeks. Vogl introduced him to the city’s musical circles, especially to the house and circle of Sylvester Paumgartner, who was Steyr’s music patron in those years and regularly held house concerts in the “music salon” of his house on the town square, roughly comparable to the Sonnleithner evenings in Vienna. Albert Stadler, Schubert’s friend, who himself came from Steyr, reports impressively on Schubert’s relationship to Steyr and especially to Paumgartner in his communications to Ferdinand Luib from 1858. Stadler’s report is the only source on the composition of the quintet:”You are probably familiar with Schubert’s quintuor for pianoforte, violin, viola, cello and double bass with the variations on his ‘Forelle’. He wrote it at the special request of my friend Sylvester Paumgartner, who was delighted with the delightful little song. According to his wish, the quintuor had to retain the structure and instrumentation of Hummel’s quintet, recte septuors, which was still new at the time. Schubert was soon done with it, he kept the section himself. . .”This report shows that the work was written at Paumgartner’s suggestion, but neither where nor when it was composed. However, one can assume that Schubert composed it for Steyr in 1819.
    Pages; 78/19/17/14/15

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  • Barenreiter Beethoven – String Quartets Op.18 Critical Commentary

    Facsimiles
    Signs and conventions
    Sources
    Critical Commentary
    Appendices
    Bibliography

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  • Barenreiter Rameau – Complete Keyboard Works, Vol.3 Βιβλίο για πιάνο

    This is the first complete edition of the keyboard works of Jean-Philippe Rameau to incorporate all the printed collections of harpsichord music published under his supervision as well as his clavier arrangement of Les Indes Galantes .It also includes many new insights into performance practice (e.g. the handling of repeat signs in the original prints) and presents the music entirely in modern clefs. The result is a reliable and unique edition for today’s performers that does full justice to recent findings in historical performance practice.For the first time, all accidentals and expression marks are reproduced exactly as they appear in the sources. All of Rameau’s written comments – a key source on performance practice – are reproduced in the original French with translations into German and English.Rounding off the edition are instructive facsimiles and a detailed preface in which the editor, the celebrated harpsichordist and conductor Siegbert Rampe , discusses the sources, editorial method, and important aspects of performance.- Complete scholarly-critical Urtext edition in modern clefs- Includes the latest findings in performance practice- Includes Rameau’s written comments and explanations in the original and in translations in English and German
     
     
    Pages: 102Language: English, GermanPublisher: Barenreiter

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