ISOLUTION
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Dvorak – String Quintet in G major op. 77
The Quintet in G major for two violins, viola, cello and double bass is a work from the time of Dvorak’s first rise; the higher opus number was later assigned to the piece by the publisher Simrock. The quintet was composed in 1875 as a competition composition in chamber music. This piece by Dvorak won in the competition organized by the music department of the Umelecka beseda (cultural society). For the 1888 print edition, the composer revised the original five-movement version of the quintet, emphasizing one slow movement. The volume is part of the first complete critical edition of the works of A. Dvorak.€19,70€21,90Dvorak – String Quintet in G major op. 77
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Dvorak – String Quintet in E flat major op. 97
The piece, composed with the string quartet in F major in Spillville, America, during the summer holidays of 1893, is one of the fruits of Dvorak’s stay in America. Like the other works from this period, the Quintet in E flat major is influenced by elements of American music, the pentatonic scale and black folklore. The volume is part of the first complete critical edition of the works of A. Dvorak.€19,70€21,90Dvorak – String Quintet in E flat major op. 97
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Dvorak – Piano Quintet in A major, Op. 5
The composer finished the Quintet in A major for two violins, viola, cello and piano op. 5 in 1872. It thus comes from a period in which Dvorak, after a phase of passionate interest in the music of German neo-romanticism, was gradually moving towards a quieter, more personal expression reached. The original version of the quintet from 1872 has been lost. The Critical Edition presents this work from Dvorak’s youth in its final form, given by the composer after a thorough revision 15 years later when he significantly reduced his original score. The volume is part of the first complete critical edition of the works of A. Dvorak.€25,40€28,20Dvorak – Piano Quintet in A major, Op. 5
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Bizet – L’Arlesienne Suite No. 1
George Bizet’s “ L’Arlésienne ” Suite No. 1, which goes back to his incidental music to a stage work by Alphonse Daudet, was arranged for large orchestra by the composer just a few weeks after its premiere in autumn 1872. The suite was a success from the first performance. Hints of folksy melodies from southern France, together with the masterful orchestration of the four movements, create a typically French atmosphere.Joachim Linckelmann’s arrangement for wind quintet is so close to the musical tone of the original that the listener is left in doubt as to whether it was written by Bizet himself.€33,00Διαθέσιμο σε 1-3 ημέρες
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Bach – Concerto Da Camera F Maj
Based on the realization that not all of the concertos listed in the dedication autograph for Christian Ludwig von Brandenburg in 1721 were composed for the first time for this collection, Klaus Hofmann wrote the quintet version – for trumpet, recorder, oboe, violin and basso continuo – of the 2nd Brandenburg Concerto of Johann Sebastian Bach reconstructed. The subordinate tasks of the tutti strings as well as conspicuous compositional compromises at passages where the ripieno makes music independently form the basis for the assumption that the concerto represents an original arrangement of an original chamber music version. The reconstruction of this version has great formal stringency and tonal transparency and allows the colourfulness of the combination of instruments to emerge – an enrichment of the chamber music repertoire.€29,00Διαθέσιμο σε 1-3 ημέρες
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JUPITER JWM-TSK1
The Jupiter Tenor Saxophone Mouthpiece with Gold-Lacquered Ligature and Plastic Cap.€50,00€60,00JUPITER JWM-TSK1
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Schubert – String Quintet in C major op. post 163 D 956
Pages; 19/19/19/19/19€29,50Διαθέσιμο σε 1-3 ημέρες
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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€38,60€42,90Schubert – Quintet in A major op. post. 114 D 667
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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
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Composer / Author:
Mozart, Wolfgang Amadeus
Quintet in C major K. 515
Occupation:
Violin (2), Viola (2), Cello
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Composer / Author:
Mozart, Wolfgang Amadeus
Quintet in G minor K. 516
Occupation:
Violin (2), Viola (2), Cello
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Composer / Author:
Mozart, Wolfgang Amadeus
Quintet in C minor K. 406 (516b)
Occupation:
Violin (2), Viola (2), Cello
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Composer / Author:
Mozart, Wolfgang Amadeus
Quintet in D major K. 593
Occupation:
Violin (2), Viola (2), Cello
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Composer / Author:
Mozart, Wolfgang Amadeus
Quintet in E flat major KV 614
Occupation:
Violin (2), Viola (2), Cello
Pages; 64/63/63/63/63€72,00Διαθέσιμο σε 1-3 ημέρες
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Berwald – Violin Concerto In C-Sharp Minor
Franz Berwald
Editor: Folke Lindberg
Piano Reduction: Heinz Moehn
Score Pages : 46
Violin Part Pages: 12
Language: English, German
Publisher: Barenreiter€22,50€25,00Berwald – Violin Concerto In C-Sharp Minor
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Brahms – Violin Concerto In D Major Op.77
Johannes Brahms’s violin concerto, written for his friend Joseph Joachim, has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many, sometimes conflicting, sources have never been evaluated for a critical performing edition. Not only Brahms’s autograph score, solo part and autograph piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationship between Brahms and Joachim. The critical commentary comments on all discrepancies in the sources and is available separately.
The critical edition of Brahms’s own piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice.
In addition the piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir, H. Heermann, L. Auer and F. Busoni.
An informative preface (Ger / Eng) with references to performance practice is included in the edition.
– First scholarly critical edition of this standard work
– Insightful comments on performance practice
– An Urtext violin part and an additional violin part marked with fingering and bowing suggestions by Joseph Joachim
– Valuable cadenza brochure with cadenzas by Joachim, Halir, Heermann, Auer and Busoni
Contents
Preface
Brahms and Joachim
The Process of Composition and Publication
Performing Practice
Editorial Note
Editor: Clive Brown
Piano Reduction: Johannes Brahms
Score Pages : 48
Violin Part Pages: 19
Violin Part Pages*: 19
Cadenzas Pages: 15
Language: English, German
Publisher: Barenreiter
* After Joachim’s revised edition of 1905€21,60€24,00Brahms – Violin Concerto In D Major Op.77
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Beethoven – Violin Concerto In D Major Op.61
Beethoven’s Concerto for Violin and Orchestra is one of the most famous works in the history of music. Over the last 150 years it has been published in numerous editions and up to now, none of these really does justice to the work.
After detailed study of all sources this new edition, prepared by the outstanding Beethoven scholar Jonathan Del Mar, now presents Beethoven’s original slurring and articulation in the solo violin part, together with over 100 corrections in the orchestral parts.
The musical text has been freed of additions made over the decades by various editors and violinists.
The significance of Beethoven’s solo and tutti markings has also been clarified for the first time.
The pioneering critical new edition will prove indispensible for all violinists as well as for orchestras and music libraries.
Editor: Jonathan Del Mar
Piano Reduction: Martin Schelhaas
Bowing and fingering: Detlef Hahn
Score Pages : 49
Violin Part: 22
Urtext Violin Part: 22
Language: English, German
Publisher: Barenreiter€17,80€19,80Beethoven – Violin Concerto In D Major Op.61
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Beethoven – Cadenzas To The Violin Concerto Op.61
Beethoven, Ludwig van – Cadenzas to Beethoven’s Violin Concerto Οp.61
for Violin and Orchestra
– Indispensible for all violinists studying this masterpiece
– First publication of a cadenza by Wieniawski
– With notes on performance practice
– With an informative, detailed preface
Beethoven himself left no cadenzas for his Violin Concerto. This edition is unique in drawing together for the first time a selection of cadenzas to one of the most famous works in the history of music, written by composers and violinists over 150 years.
This publication contains not only the well-known cadenzas by Leopold Auer and Joseph Joachim, but also several which are seldom performed, such as those by Ferdinand David (the first surviving cadenza to op. 61), Louis Spohr, Eugène Ysaÿe, Camille Saint-Saëns, Henri Vieuxtemps, Jakob Dont and, for the first time, one by Henryk Wieniawski.
Commentaries (German/English) on the composers and on performance practice are included. The edition complements the piano reduction BA09019 90 and will be invaluable for all violinists studying Beethoven’s Violin Concerto.
Editor: Martin Wulfhorst
Score Pages : 59
Language: English, German
Publisher: Barenreiter€24,40€27,10Beethoven – Cadenzas To The Violin Concerto Op.61
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Bach – Concerto in A Minor BWV 1041
Bach, Johann Sebastian – Concerto for Violin, Strings and Basso continuo
(Piano Reduction)
Today the three violin concertos, BWV 1041–1043, are among Johann Sebastian Bach’s best known and most popular instrumental works and enjoy a permanent place in the concert repertoire.
The blending of ritornello and episode that typifies Bach’s concertos as a whole is especially evident in the densely contrapuntal first movement, where the concise main theme regularly recurs to accompany the solo violin. This somber opening movement is followed by a harmonically far-reaching Andante which develops an expressive cantilena above an almost ubiquitous theme in the bass. The finale is a fugal gigue dominated by a madcap 9/8 rhythm and ever-increasing virtuosity from the soloist.
This Urtext edition is based in the “New Bach Edition”. The revised violin and piano reduction includes an Urtext solo part as well as a second solo part with bowing, fingering and comments on performance by Andrew Manze.
Score Pages : 19
I (unmarked) Violin Part Pages: 7
I (marked) Violin Part Pages: 7
Language: English,German
Publisher: Bärenreiter€14,00€15,60Bach – Concerto in A Minor BWV 1041
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Bach – Concerto in D Minor BWV 1043
Bach, Johann Sebastian – Concerto for two Violins, Strings and Basso continuo
(Piano Reduction)
In 2001 Bärenreiter issued a newly engraved keyboard reduction and solo parts to this concerto based on the acclaimed New Bach Edition.
The present expanded new publication goes a step further in that it offers not only the two solo violin parts as presented in the New Bach Edition, but also two additional parts with fingerings and bowings by the baroque specialist Andrew Manze .
Manze also offers players enlightened comments (English/German) on historical performance practices dealing with how the instrument was held, fingerings, bowing, shifting, the use of open strings and much much more.
Editor: Kilian, Dietrich
Score Pages : 22
I (unmarked) Violin Part Pages: 8
II (unmarked) Violin Part Pages: 8
I (marked) Violin Part Pages: 12
I (marked) Violin Part Pages:11
Language: English,German
Publisher: Bärenreiter€16,80€18,70Bach – Concerto in D Minor BWV 1043
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Telemann – Two Sonatas for Violin & Basso Continuo
This first ever Urtext edition, edited by the Bach and Telemann scholar Klaus Hofmann, is taken from the Telemann Musical Works. The continuo realizations are by the editor.
Contents
Vorwort
Preface
Sonata in F major TWV 41:F4
Sonata in A major TWV 41:A6
Score Pages : 19
Violin Part Pages: 11
Basso Continuo Part Pages: 9
Language: German, English
Publisher: Bärenreiter€18,80€20,90Telemann – Two Sonatas for Violin & Basso Continuo
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Telemann – Six Sonatas Vol. 2
Telemann, Georg Philipp – Six Sonatas for two Flutes or two Violins
Op. 2 TWV 40:103, 105, 106
Volume 2
Contents
Sonata in B Minor TWV 40:105
Sonata in A Major TWV 40:103
Sonata in E Major TWV 40:106
Score Pages : 31
Language: German, English
Publisher: Bärenreiter€11,20€12,40Telemann – Six Sonatas Vol. 2
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Tartini – Sonata In G Minor for Violin & Basso Continuo
The “Devil’s Trill” Sonata is the most famous of the violin sonatas of Giuseppe Tartini (1692–1770). In the new scholarly-critical edition, it holds many a surprise in store. For the first time, all available contemporary sources have been consulted to produce an edition closely approximating Tartini’s lost autograph. The solo part offers several ossia passages and alternative articulation marks, and the score have been given an eminently playable realization of the continuo part offering ample scope for improvisation. Also for the first time, this edition includes a separate part for violoncello or violone.
A detailed preface sheds light on the genesis and subsequent reception of this sonata. There is also a critical report discussing and evaluating all sources used and providing explanations of a number of important passages, including the famous trill itself.
Score Pages : 23
Violin Part Pages: 8
Basso Continuo Part: 4
Language: German, English
Publisher: Bärenreiter€14,00€15,60Διαθέσιμο σε 1-3 ημέρες
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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€60,90€67,60Mozart – Cosi Fan Tutte KV588
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Mendelssohn – Elias Op.70
Immediately after completing “St. Paul” in 1836, Mendelssohn mulled over the idea of composing a further oratorio. However a whole decade elapsed before the composition of “Elijah” which takes as its theme the story of the Biblical prophet from the 1st Book of Kings. When he received the invitation to write a major work for the Birmingham Music Festival, Mendelssohn finally embarked on work on the oratorio. “Elijah” was premiered in 1846 in Birmingham with great success and has enjoyed great popularity ever since.Following the first performance, Mendelssohn undertook a revision of the oratorio in which whole numbers were removed and new ones substituted. This is the version which was first heard in 1847 in London and which is still performed today.This Urtext edition of the oratorio edited by the Mendelssohn specialist Douglass Seaton is based on all critical sources. The edition reflects the latest research findings and includes both English and German singing texts.A critical commentary completes the new edition.
Pages:311Language:English,GermanPublisher:Barenreiter€21,60€24,00Mendelssohn – Elias Op.70
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Haydn – Missa St Bernardi Von Offida Spartitoba
Bernard of Offida, 1604–1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (a Saturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt added horns to double the trumpets in the tuttis, and – just as in the previous Mass – the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. As in the Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admired works. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartial weight – all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.
Pages:125Language:English,GermanPublisher:Barenreiter€18,80€20,90Haydn – Missa St Bernardi Von Offida Spartitoba
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Haydn – Schopfungsmesse Spartito
The Creation Mass was composed and first performed during the last decade ofHaydn’s life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt, on the occasion of the nameday of Princess Maria Hermenegild. The nickname ‘Creation’ stems from Haydn’s incorporating into the Gloria movement (at the words ‘Qui tollis peccata mundi’) a quotation from Adam and Eve’s duet in his oratorio The Creation.
Pages:161Language:English,GermanPublisher:Barenreiter€21,20€23,50Haydn – Schopfungsmesse Spartito
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Haydn – Missa In Tempore Belli “Mass in Time of War”
Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined – when preparing this edition – the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion, and thus also the work which Haydn had just finished and performed in Eisenstadt.
Pages:151Language:English,GermanPublisher:Barenreiter€22,50€25,00Haydn – Missa In Tempore Belli “Mass in Time of War”
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Bach – Missa In F Major (Lutheran Mass) BWV233
Pages:43Language:English,GermanPublisher:Barenreiter€8,90€9,80Διαθέσιμο σε 1-3 ημέρες
