 | First flute part identical with the Urtext of the “New Bach Edition”
Skillful arrangement of the basso continuo/harpsichord part in the second flute part
Ideal for lessons, amateur music making and concerts |
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| Bach, Johann Sebastian | | Four Sonatas for Flute and Basso continuo or obbligato Harpsichord BWV 1034, 1035, 1030, 1032 | Bärenreiter Flute Series
Editor: Ambach, Cathrin | | BA 10961 | EUR 22.95 | Performance Score | 9790006577095 | BA 10962 | EUR 14.95 | Performance Score | 9790006578429
Alongside the violin, the transverse flute is one of the preferred solo instruments in Johann Sebastian Bach's chamber music, even if the circumstances surrounding the composition of the individual works are not completely known. Three of the seven flute sonatas are attributed to Bach, but cannot be verifiably proven to have been composed by him. This is reflected by the allocation of the sonatas into two volumes whereby BA10961 (BWV 1034, 1035, 1030, 1032) contains the four sonatas by Bach and BA10962 (BWV 1033, 1031, 1020) the three sonatas attributed to him.
For this edition, flautist and teacher Cathrin Ambach arranged the sonatas for two flutes so that they can be accompanied by a second flute in lessons without the need for a keyboard instrument. By retaining the original Urtext flute solo part based on the “New Bach Edition” and with the elegant arrangement of the continuo or harpsichord accompaniment, the two flutes can play together at a comparable musical level in a high-quality and Bach-like manner. This edition is compatible with the Urtext performing editions of the sonatas based on the “New Bach Edition” (BA05198 and BA05220). | | |
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 | Vocal score based on the “New Mozart Edition”
With an easy-to-play piano part and spacious layout
Compatible with the full score (BA04880) and performance material |
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| Mozart, Wolfgang Amadeus | | Missa in C major KV 317 "Coronation Mass" | BÄRENREITER URTEXT
Editors: Holl, Monika / Köhs, Andreas | | BA 11971-90 | EUR 10.50 | Vocal score | 9790006578795 | | Replaces BA04880-90 | The richly orchestrated Missa in C minor K. 317 was probably one of the first church music works that Mozart composed at the beginning of 1779 as the newly appointed Salzburg court organist. With a large orchestra, choir and four soloists, the composer impressively demonstrates his skills. The nickname “Coronation Mass” has a long tradition and is already mentioned in the first edition of the Köchel catalogue; however, it does not go back to the premiere, which took place on one of the Easter holidays in April 1779. In all probability, the mass was performed in 1791 at the coronation celebrations in Prague for Leopold II and – after his unexpected death – in 1792 for Franz I under Antonio Salieri.
For this vocal score, Andreas Köhs has provided an improved orchestral reduction which optimally transfers the instrumental parts to the piano while ensuring playability. The vocal parts are based on the Urtext of the “New Mozart Edition”. |
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 | First Urtext edition of Rachmaninoff’s works for violoncello
With a well-presented layout and practical page turns
Includes a detailed Introduction on the genesis and transmission of the works (Eng/Ger) and a Critical Commentary (Eng) with a description of the sources |
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| Rachmaninoff, Sergei | | Works for Violoncello and Piano | BÄRENREITER URTEXT
Editor: Macchione, Daniela | | BA 9994 | EUR 34.95 | Performance score | 9790006559725 | Sergei Rachmaninoff's chamber music for violoncello and piano comprises three works, all of which originate from his early compositional period and whose genesis is closely linked to people in his circle at the time.
Seventeen-year-old Rachmaninoff wrote the "Lied", which was first published posthumously, during a stay with the family of his future wife Natalia. He dedicated this to her cousin Vera. "Prélude et Danse orientale" op. 2 is dedicated to his good friend, the cellist Anatoli Brandoukoff, with whom he played the "Prélude" in the first public concert consisting entirely of his own works. Also dedicated to Brandoukoff is the Sonata op. 19 which is one of the first works that Rachmaninoff wrote after the years of depression he suffered following the failure of his first symphony. Particularly in Opus 2 and the Sonata, it is evident that Rachmaninoff gave the violoncello and piano an equal standing.
For this edition, editor Daniela Macchione draws on the first editions published in collaboration with Rachmaninoff as well as the relevant autographs, which are accessible in the National Museum of Music in Moscow and the Library of Congress in Washington DC. | | |
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 | Published on the basis of the "New Schubert Edition"
In a reader-friendly landscape format with separate primo and secondo parts and practical page turns
With informative notes on performance practice in Schubert's day (Ger/Eng), especially on Schubert's notation of accents, as well as interpretationally relevant readings in the Critical Commentary (Eng) |
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| Schubert, Franz | | Allegro for Piano Four-hands in A minor op. post. 144 D 947 "Lebensstürme" | BÄRENREITER URTEXT
Editor: Litschauer, Walburga | | BA 10886 | EUR 17.95 | Performance score | 9790006578856 | The Fantasia in F minor op. 103 - D 940 which was completed in April 1828, the last year of Schubert's life, was followed in May by the equally popular Allegro in A minor op. post. 144 - D 947 and in June by the Rondo in A major op. 107 - D 951. Schubert scholars assume that these works could have been movements of a third, unfinished sonata for four hands. Orchestral effects were a particular characteristic of Schubert's works for piano duet from the very beginning. It was most probably in the first edition published by Diabelli & Co. in 1840 that the Allegro in A minor was given the title "Lebensstürme" and the subtitle "Characteristisches Allegro".
This Urtext edition is based on the definitive musical text of the "New Schubert Edition". An informative Foreword and valuable notes on performance practice in Schubert's day (including articulation, use of pedal, ornamentation) with a special focus on Schubert's characteristic notation of > accents of different lengths provide an insightful introduction to the Allegro. The new edition is published in a reader-friendly landscape format with separate primo and secondo parts and practical page turns. | | |
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| Beethoven, Ludwig van | | The Complete String Quartets | BÄRENREITER URTEXT
Editor: Del Mar, Jonathan | | TP 915 | EUR 99.00 | Four study scores in a slipcase | 9790006203178 | Beethoven was almost thirty years old when he ventured to compose a string quartet for the first time. Could he have been intimidated by the influential models of this young genre of Haydn and Mozart? When Beethoven completed his six string quartets op. 18 in 1799 – almost exactly one year after Haydn's six quartets op. 76 – he was by no means completing a work of his youth. Nevertheless, they are often called his "early" quartets in order to distinguish them from the "middle" quartets op. 59, op. 74 and op. 95 (1807–1816) as well as the "late" quartets op. 127, op. 130, op. 131, op. 132, op. 135 and the "Große Fuge" op. 133.
This genre occupied Beethoven for the rest of his life – even his last completed composition was a string quartet. His works revolutionised this central chamber music genre, just as his symphonies did for that respective genre: for 200 years, Beethoven's string quartets have been perceived as giants in the realm of string instrument music in terms of quality, musical innovation and influence.
New: Now the study score with op. 74 and 95 (TP00918) also includes the "Allegretto" in B minor in a scholarly critical edition. Written by Beethoven in 1817, this miniature for string quartet was only rediscovered in the late 1990s.
The slipcase includes:
String Quartets op. 18. TP00916
String Quartets op. 59. TP00917
String Quartets op. 74 and 95 with the "Allegretto" in B minor.
TP00918
String Quartets op. 127, op. 130, op. 131, op. 132, op. 135 and the "Große Fuge" op. 133. TP00934 |
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 | Collected edition of the six individual study scores TP00929-933 and 935
Scholarly-critical edition by Jonathan Del Mar, taking into account all surviving sources; introductory texts (Ger/Eng) by Misha Donat
Ideal supplement to the performing editions |
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| Beethoven, Ludwig van | | The Late String Quartets op. 127, 130-133, 135 | BÄRENREITER URTEXT
Editor: Del Mar, Jonathan | | TP 934 | EUR 59.00 | Study score | 9790006203208 | | The String Quartet op. 127 marks the beginning of a series of five works in this genre, which Ludwig van Beethoven predominantly occupied himself with during the last years of his life and after several personal and creative crises. This compositional period was triggered by Nikolaus Prince Galitzin, who, as "both an enthusiastic music lover and a great admirer of your talent", had asked Beethoven to write new string quartets in 1822. In addition to op. 127 (1824), the quartets op. 132 (1825) – "a tremendous work, tremendously special in the lyrical movement and the indescribable last" (Thomas Mann) - and op. 130 (1826), whose climax was originally the Grand Fugue op. 133, are also dedicated to the cello-playing prince. However, it proved to be a stumbling block at the first performance due to its immense difficulties, so that Beethoven was asked to write a substitute finale and to publish the final movement separately and with its own opus number as "a work of art lying outside the realm of ordinary [...] quartet music" (Karl Holz, second violinist of the Schuppanzigh Quartet). The String Quartet op. 131 (1826) had flowed from Beethoven's pen almost incidentally while he was working on the three Galitzin Quartets - his inexhaustible imagination and an overflowing wealth of quartet ideas resulted in a formally extremely unusual seven-movement work with a fugal first movement that reveals his involvement with Bach's "Well-Tempered Clavier". Beethoven's last major work to be completed was Opus 135 (1826); among the late quartets, it is the one with the most classical conception - a "wistful reminiscence of a more beautiful time gone by" (Adolph Bernhard Marx). |
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| Handel, George Frideric | Giustino HWV 37
Opera in three acts | Halle Handel Edition (HHA) II/36
Editor: Hirschmann, Wolfgang | | BA 10727-01 | EUR 437.00 | Full score, linen-bound | 9790006577446 | | Reduced subscription price available | In the fourth volume of his "General History of Music", Charles Burney's verdict on Handel's "Giustino" was as enthusiastic as it was prophetic: "Upon the whole, this opera, so seldom acted and so little known, seems to me one of the most agreeable of Handel's dramatic productions".
The world premiere of this opera took place on February 16, 1737 at the Covent Garden Theatre. Handel's music, which he wrote for the dramma per musica "Giustino", is as colourful, rich and opulent as the plot. He not only mobilized a wealth of stage effects, but also brought to the music large ensembles – trumpets, horns, oboes, recorders – and choral movements, with accompagnati, echo effects and incidental music. In doing so, he created musical complexes that spanned multiple scenes, the likes of which are only really known from operas of the second half of the century: the fourth to seventh scenes of the first act are presented in a continuous alternation of accompagnati, arias, choruses, sinfonias and simple recitatives – a musical-dramatic masterpiece.
The historical-critical edition of the opera in the Halle Handel Edition is intended to help bring this "most agreeable" work closer to a contemporary audience. The main part of this volume reproduces the version of the premiere in its entirety for the first time and offers the opportunity to become acquainted with the first version in an appendix. It is somewhat more concise and compact, but above all dramaturgically more stringent than the version that was then heard on the London stage. For today's performers, both versions offer rich material for exciting productions, which may help this great heroic legend – aptly characterized by Anthony Hicks as a "theatrical extravaganza" – to become increasingly popular. |
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| Handel, George Frideric | Scipione HWV 20
Opera in three acts | Halle Handel Edition (HHA) II/17
Editor: Strohm, Reinhard | | BA 10728-01 | EUR 591.00 | Full score, linen-bound | 9790006577439 | | Reduced subscription price available | When the librettist Paolo Rolli and George Frideric Handel composed an Italian opera about Scipio's conquest of the Iberian port city of Carthago Nova in 1726, these events from 209 BC were already almost two thousand years in the past. Research on the critical edition of the opera "Scipione" in the Halle Handel Edition suggests that the librettist and composer had something special in mind with the traditional subject matter. Their opera, created for the Royal Academy of Music in February/March 1726, was by no means just a stopgap in the repertoire, as was previously believed – in contrast to "Alessandro", which was performed in April; Handel wanted to juxtapose the two most famous generals of antiquity, Alexander the Great and Scipio Africanus, and emphasize their (sometimes only apparent) renunciation of despotism among their glorious deeds.
At the opera's premiere in 1726, the virtuoso duo Cuzzoni/Senesino captivated the audience with their highly dramatic and dialogue-like, sometimes tragic arias. Rolli's Scipione (sung by alto castrato Antonio Baldi) was the first operatic hero of this historical material to do good for his own sake and not just forced by circumstances (like Alessandro) or out of political calculation. This dramaturgical approach opens up new perspectives on the musical portrayal of love, honour, violence and sacrifice in this rarely performed masterpiece. ... |
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