ISOLUTION

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

Janáček, Leoš – String Quartet Nr.2 “Intimate Letters”
– Urtext based on the “Critical Complete Edition of the Works of Leos Janácek”
– With a foreword by Milos Stedron (Cz/Eng/Ger)
– Autograph sketches used as the primary source
Janácek’s 2nd String Quartet, “Intimate Letters”, is regarded as a highlight of the modern string quartet literature. It was written during the composer’s last year of life, between 29 January and 19 February 1928, inspired by the ageing Janácek’s exceptional love for Kamila Stösslová. The Moravian Quartet devoted themselves to this impressive work; Janácek attended a total of three of their rehearsals in May and June 1928. This had several consequences, including his abandoning his original idea of using a viola d’amore.
After Janácek’s unexpected death (12 August 1928) the uncertain genesis of the work became the greatest problem of the “Intimate Letters”: the surviving copies were not definitively authorised.
The editors of this new edition have reverted to Janácek’s autograph sketches as the main, most reliable source and using these as a basis, have reconstructed the work as it stood at the point of Janácek’s death. The musical text, taken from the “Critical Complete Edition of the Works of Leos Janácek” (Vol. E/4), therefore contains clear differences in comparison with older editions.
 
 
 
Editor: Faltus, Leoš / Štedron, Miloš
Instrumentation: Violin (2), Viola, Violoncello
Language: English, Czech, German
Publisher: Bärenreiter
                              

Seven Character Pieces op. 7 / Six Children’s Pieces op. 72
Two of Mendelssohn’s famous piano albums, with pieces of easy to medium level of difficulty
Urtext edition reflecting the latest research findings
Different versions are taken into consideration
Critical Commentary and detailed foreword (Ger/Eng)
The “ Charakterstücke op. 7” and “ Kinderstücke op. 72” are Mendelssohn’s most popular piano albums besides his “Lieder ohne Worte ” and the “Variations sérieuses op. 54”. Robert Schumann described the character pieces as an “interesting contribution to the development” of the “masterful youth”.
The compositions mostly dating from 1827, are essentially the result of his lessons with Carl Friedrich Zelter in Berlin. The teacher encouraged his pupil to immerse himself in the strict style of old music”, in particular Johann Sebastian Bach, but at the same time, as he himself said, confidently allowed Mendelssohn to dream of “dragons and goblins”.
In the 19th century, learning the piano was regarded as a highly desirable accomplishment. The demand for piano lessons for children led rapidly to the development of a repertoire suitable for this age-group. Albums for children were particularly popular around the mid-19th century and were popular presents for children’s birthdays, Christmas and other occasions.
Mendelssohn’s “ Kinderstücke op. 72” were published in London in 1847, the year of his death, under the title “Christmas Present for His Young Friends”.
The edition contains both piano cycles in the versions published in the first edition, and an extensive appendix also includes variants and early versions which survive in different autograph manuscripts
Content
​Vorwort / Preface
​Sieben Charakterstücke Opus 7 (Fassung des Erstdrucks / Version from the First Edition):
​Sanft und mit Empfindung
​Mit heftiger Bewegung
​Kräftig und feurig
​Schnell und beweglich
​Ernst und mit steigender Lebhaftigkeit
​Sehnsüchtig
​Leicht und luftig
​Sechs Kinderstücke Opus 72 (Fassung des Erstdrucks / Version from the First Edition):
​Allegro non troppo
​Andante sostenuto
​Allegretto
​Andante con moto
​Allegro assai
​Vivace
​Anhang / Appendix:
​I. Autographe Fassungen der Charakterstücke Opus 7 Nr. 1, 2 und 4 / Autograph Versions of the Charakterstücke Opus 7 nos. 1, 2 and 4:
​Andante
​Allegro vivace
​Con moto
​II. Stücke aus den Notenalben für Eduard und Lilli Benecke (1842) / Pieces from the Albums for Eduard and Lilli Benecke (1842):
​1. Aus dem Notenalbum für Eduard Benecke / From the Album for Eduard Benecke:
​Allegretto (op. 72 Nr. 3, Frühfassung / Early Version)
​Andante
​Allegro assai (op. 72 Nr. 5, Frühfassung / Early Version)
​Sostenuto [Erstausgabe / First Edition]
​2. Aus dem Notenalbum für Lilli Benecke / From the Album for Lilli Benecke:
​Allegretto (op. 72 Nr. 6, Frühfassung / Early Version)
​Andante con moto (op. 72 Nr. 4, Frühfassung / Early Version)
​Andante sostenuto (op. 72 Nr. 2, Frühfassung / Early Version)
​Con moto (op. 72 Nr. 1, Frühfassung / Early Version)
​Critical Commentary

State-of-the-Art Bärenreiter quality Urtext
Performer information on Aesthetics i.e. pedalling, tempo, articulation, dynamics
Critical report (Eng.) and Facsimile
Little is known about the origins of Debussy’s Pour le piano, only that the second movement Sarabande was written in 1894 and that the autograph carries the clear inscription »1901«.
As with the Suite bergamasque, Pour le piano was published first by Fromont in 1901, although Debussy did not grant him the full rights to the composition until 1905. This delay had most certainly to do with Debussy’s efforts to have Fromont transfer the rights to Pelléas et Mélisande to his new exclusive publisher Durand; in other words, Fromont was to own Pour le piano only if Durand owned Pelléas.
Bärenreiter’s new critical scholarly edition edited by Regina Back relies on all known sources, documenting the genesis of the composition, provides a detailed Critical Commentary and enlightens with its text passages on performance practice and Debussy’s piano music.
 
Einführung:
Entstehungs- und Pubikationsgeschichte
Zum Werk
Ästhetik und Aufführungspraxis
Zur Edition
Die Quellen
Übersetzung der Spielanweisungen
Introduction:
Genesis and Publicatin History
The Work
Aesthetics and Performance Practice
Notes on the Edition
The Sources
Translation of Performance Instructions
Introduction:
Genèse et historique de la publication
L’Œuvre
Esthétique et traditions d’exécution
Notes sur l’edition
Sources
Faksimile / Facsimile / Facsimile
Anhang / Appendix / Appendice
Critical Commentary