Volume / Series : BÄRENREITER URTEXT
Editor: Strucken-Paland, Christiane
Language: English/German
Pages: 78
Publisher: Barenreiter
César Franck’s string quartet was completed and premiered in 1890 shortly before the composer’s death; he did not live to see the work published. Now Bärenreiter, together with the “Association Internationale César Franck”, presents the string quartet in a scholarly-critical edition for the first time. This publication draws on the first edition, the engraver’s copy used for the first edition and the sketches with their many crossed out attempts which contain an earlier version of the first movement as well as a copy of the autograph. Franck’s letters and a set of hand-written parts which he produced for Eugene Ysaÿe’s string quartet have also been taken into account.
In her foreword, the editor Christine Strucken-Paland portrays the significance of the string quartet for Parisian musical life at the end of the 19 th century and places it in the context of the composer’s other late chamber music works. She also describes the work’s development, its publication and reception and discusses aspects of performance practice. The facsimiles show Franck’s struggles with the opening movement and the critical commentary lists variant readings found in the sources
– First Urtext edition of Franck’s masterwork
– Informative foreword (Ger/Fr/Eng)
– Facsimiles and a critical commentary (Eng)
CONTENTS
Einführung
Introduction
Introduction
Quatuors à cordes
Appendix:
Facsimiles
Bibliography
Sources
Critical Commentary

Volume / Series : BÄRENREITER URTEXT
Editor: Breig, Werner
Language: English/German
Pages: 116
Publisher: Barenreiter
All four Mozart horn concertos are closely associated with the horn player Joseph Leutgeb, for whom they were written during the composer’s period in Vienna (between 1783 and 1791). They display his compositional approach to the possibilities and limitations of the instrument at that time and were also influenced by Leutgeb’s skills as a performer; he was evidently a virtuoso of the hand-stopping technique on the horn.
The new Bärenreiter Urtext study score replaces the existing individual horn concerto editions (TP 307–310). It contains the authoritative musical text of the New Mozart Edition together with Franz Giegling’s informative foreword(Ger/Eng) on the history of composition of the works, on their transmission and on the former edition of the works which has been revised for the new edition,based on current scholarly findings.
For the first time the study score also includes the Concerto in D major K. 412 + 514 (386b) which is traditionally performed in the version completed by Franz Xaver Süßmayr as well as Mozart’s incomplete Rondo movement with the famous derisive allusions to the horn player Joseph Leutgeb.
– All four horn concertos now available in an Urtext study score edition
– Mozart’s incomplete Rondo K. 412 included for the first time
– Informative revised foreword (Ger/Eng)
CONTENTS
Vorwort
Zur Edition
Preface
Editorial
Composer / Author: Mozart, Wolfgang Amadeus
Concerto E flat major K. 417
Concerto E flat major K. 495
Concerto E flat major K. 447
Concerto D major K. 412 + K. 514 (386b)
Version: Süßmayr
Appendix: Rondo D major K. 412 (386b)
Fragment

Volume / Series : BÄRENREITER URTEXT
Editor: Del Mar, Jonathan
Language: English/German
Pages: 78
Publisher: Barenreiter

Language: German/English
Product format: Piano reduction, Part
Instrumentation: Violin Solo, Piano
Solo Pages: 7
Piano Pages: 6
Publisher: Barenreiter
CONTENTS
The series “Bärenreiter’s Concert Pieces” presents further editions with works by Oskar Rieding (BA 8982), Friedrich Seitz (BA 8979) and Joseph-Hector Fiocco (Ba 8977).
All editions contain a solo violin part and a piano part for the piano accompanist. The series is edited by Kurt Sassmannshaus, the internationally-renowned violin teacher and co-author of the Sassmannshaus violin school tradition.
His forewords introduce these little gems and include tips for successful first concerts. These editions form an ideal continuation of the Sassmannshaus violin school tradition and can be used in parallel from the third volume onwards or alongside any violin method.
The series will be continued and will introduce students to more demanding repertoire with a gradually increasing level of difficulty.