 | A masterpiece of the trio genre
Based on the latest research, taking sources into account that had previously not been evaluated
With an Introduction on the history and reception by Gudula Schütz (Ger/Eng/Fr) |
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| Ravel, Maurice | | Trio for Piano, Violin and Violoncello | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA10921 | EUR 31.95 | Score with parts | 9790006566266 | | Replaces BA09418 | Maurice Ravel broke new personal ground with his only piano trio, yet in a stroke of genius he created a work of the early 20th century that is outstanding in many respects and a key work of this genre. As one of his most rhythmically daring pieces, the four-movement trio fascinates with its asymmetrical rhythmic division and polymetrics, with Ravel possibly drawing on impressions from Stravinsky's "Sacre du Printemps". The second movement "Pantoum" refers to a form of poetic declamation in Malaysia, while the slow third movement is reminiscent of the Baroque passacaglia.
The main source on which this edition is based is the Durand edition published during Ravel's lifetime. Also taken into account are copies of the first edition from Ravel's circle in which corrections were entered. The edition contains a detailed Introduction (Ger/Eng/Fr) and a Critical Commentary (Eng). |
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 | Taking into account a radio recording from 1970 in which the composer was involved
Detailed Foreword on the genesis of the work and its reception (Ger/Eng) as well as a Critical Commentary (Eng) |
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| Martin, Frank | | Mass for Double Choir a cappella | BÄRENREITER URTEXT
Editor: Ostrzyga, Michael | | BA11315 | EUR 13.95 | Performance score | 9790006578030 | | Replaces BA07594 | This edition of Frank Martin's mass is a scholarly-critical as well as a performing edition that takes all sources into account. As a matter of fact, it was only during the research for this edition that a previously unknown source was discovered and evaluated – a radio recording of the mass, which was produced in 1970 by the Dutch NCRV Vocaal Ensemble with the participation of the composer. The project also included the first public performance of the work, which took place shortly afterwards in the presence of the composer and may have inspired him to make later changes.
Martin's manuscripts from the 1920s, as he repeatedly emphasised, were never intended for publication and were laid aside for 40 years. After the 1970 production, Martin was also involved in the preparation of the 1972 first edition, with which he was very satisfied. On the basis of extensive research into the genesis and performance history of the mass, all sources were re-evaluated in order to present a musical text that corresponds as closely as possible to Martin's intentions whilst meeting all the requirements of the performers. |
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 | First Urtext edition based on the first editions (see also BA09159)
Detailed Foreword (Ger/Eng) by Markus Schäfer
English translations of the song texts are printed separately
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| Karg-Elert, Sigfrid | | Ten Epigrams by Lessing for high and medium voice and piano op. 56 | BÄRENREITER URTEXT
Editors: Breidenbach, Ernst / Schäfer, Markus | | BA07864 | EUR 12.95 | Singing score | 9790006575749 | Since the 1970s, Karg-Elert’s organ, harmonium and piano music has been systematically rediscovered, but his song compositions have not yet received the same attention. Wrongly so, for his approx. 200 solo songs are first-rate compositions, written in a wealth of different forms ranging from through-composed to strophic settings. The editors Ernst Breidenbach and Markus Schäfer have also contributed to the rediscovery of these gems with several concerts and a CD recording of selected songs.
Karg-Elert is actually the first composer since Haydn to make a name for himself with settings of Lessing. His "cheerful, light-hearted" songs join a tradition of humorous piano songs, a tradition that can at best be described as incomplete.
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| Bärenreiter Notes in Fauré purple | |
| BA08100-44 | EUR 0.95 | Format: A6 | 32 pages | 9790006578771 | This little notebook is handsome as well as practical.
The cover is in Bärenreiter's attractive Fauré purple and has the same layout as the Bärenreiter Urtext editions. The pages alternate with musical staves on the left and writing lines on the right. The superior quality of paper used for the notebook matches that of our fine Urtext editions.
"Bärenreiter Notes" serves ideally as:
- a student lesson book
- a general notebook
- a gift |
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| Handel, George Frideric | Siroe, Re di Persia HWV 24
Opera in tre atti | Halle Handel Edition II/21
Editor: Schmidt, Phillip | | BA10723-01 | EUR 446.00 | Full score, linen-bound | 9790006550333 | | Reduced subscription price available | George Frideric Handel's "Siroe, Re di Persia", HWV 24, was premiered on February 17, 1728 at the King's Theatre in London's Haymarket. With Francesca Cuzzoni, Faustina Bordoni and Francesco Bernardi, known as Senesino, the composer had top-class vocal soloists famous throughout Europe at his disposal for no fewer than 17 consecutive performances. However, Handel's opera was not an outstanding success due to the strong competition from the "Beggar's Opera" presented in London at the same time.
Taking into account numerous manuscript and printed sources, this scholarly-critical edition offers a reconstruction of an abridged version by Handel in the first appendix, in addition to the premiere version. Apparently, Handel made preparations here for a revival of the work which, however, never materialized. This version is interesting both from a documentary and dramaturgical point of view, because it was Handel himself who significantly shortened his opera – incidentally the one from his oeuvre with the longest share of recitatives." ... |
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 | Previously unpublished first version of the opera in French
With considerable differences to the second and final version of the work in Czech
With a foreword (Eng/Cz) on the complicated genesis of the first version of the opera and a Critical Commentary (Eng/Cz) |
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| Martinu, Bohuslav | | Mariken de Nimègue H 236/2 I | The Bohuslav Martinu Complete Edition I/1/9
Editor: Žurek, Pavel | | BA10587-01 | EUR 335.00 | Full score, linen-bound | 9790260109865 | | Reduced subscription price available | Bohuslav Martinu composed the one-act opera "Mariken de Nimègue" based on a medieval Dutch Marian miracle during his stay in Paris in 1933 to a French text by Henri Ghéon. This is the unpublished and unperformed first version of the opera. The second and final version was created in 1934, which Martinu included in his Czech-language opera cycle "Hry o Marii" (Marian Plays) H 236. The reason for creating the second version was therefore the need to adapt the music to the Czech translation of Vilém Závada's libretto. The first version of the opera differs from the Czech version largely in the orchestration, the setting of the French text and the extensive original musical material, which Martinu no longer used in the second version.
The foreword describes the complicated genesis and fate of the first version of the opera, including the composer's difficulties in finding a suitable librettist. Martinu had originally intended the Czech poet Vítezslav Nezval to be the librettist (a complete sketch of Nezval's libretto can be found in the "Documents" section) ... |
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| Tartini, Giuseppe | Sei concerti
Opera prima. Libro primo | Complete Edition of the Musical Works by Guiseppe Tartini, V/1
Editor: Bisi, Sofia Teresa | | BA11671-01 | EUR 243.00 | Full score, linen-bound | 9790006569540 | | Reduced subscription price available | In 1727, the Amsterdam publisher Michel-Charles Le Cène published a collection of six concertos by Tartini for solo violin and orchestra, entitled Opus 1, "Book 1". It was the prelude to a large-scale publication project of initially 12, later even 18 concertos, divided into three "books".
These concertos follow the established Venetian form, but make remarkable new demands on bowing techniques to achieve innovative sound qualities, both in the solo part and in the accompanying orchestral parts.
In its surviving form, Book 1 contains a large number of problems concerning the musical text, which the editor, Sofia Bisi, was able to solve in this edition by carefully examining all available sources. These include those from Berkeley and Dresden, as well as two autographs of outstanding editorial importance. A detailed historical introduction and a chapter on specific performance practice issues provide an in-depth understanding of Tartini's œuvre. |
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| Gluck, Christoph Willibald | | Briefe und Dokumente | Gluck Complete Edition VII/3 (Supplement)
Editor: Brandenburg, Daniel | | BVK 4010 | EUR 470,00 | Linen-bound-volume | 9783761826188 | | | Price reduction for a subscription | Christoph Willibald Gluck's work as an opera composer on a European scale was accompanied by a lively correspondence, where the composer cultivated his artistic network and maintained contact with the decision-makers of the aristocracy. Gluck was active in Italy, England, Denmark, Bohemia, Saxony, the Habsburg heartland of Austria and France. Due to the dynastic relationships forged by Empress Maria Theresa’s marriage policy, he became Vienna’s artistic ambassador in the royal capitals of Paris, Parma and Naples. Furthermore, in the course of the national theatre aspirations of the German-speaking regions, intellectuals, literary figures and theatre people approached Gluck to interest him in relevant music theatre projects or to enter into intellectual exchanges. In addition to this business and artistic correspondence, the composer is also known to have cultivated letterwriting with his family.
Unfortunately, only a fraction of the presumably once extensive corpus of letters addressed to Gluck and written by him has survived. His written legacy, consisting of his music, correspondence and documents (certificates, contracts, etc.) relating to his life and work, fell victim to the Napoleonic Wars after his death. Only officially archived documents found in public hands or in the private possession of third parties were able to survive the times.
In this volume, all letters and selected documents on Gluck’s life and work known to scholars, whether in the original or as copies, are reproduced for the first time in their original language (German, French or Italian), annotated in detail and thus made available to a wide readership. |
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