 | Urtext edition at the cutting edge of scholarship
Historically informed fingering and notes on performance practice by Hardy Rittner (Ger/Eng)
Well-presented engraving
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| Chopin, Frederic | | Berceuse for Piano op. 57 | BARENREITER URTEXT
Editor: Schilling-Wang, Britta | | BA 11830 | EUR 7.50 | 9790006565757 | Chopin's "Berceuse" is one of his most frequently performed works and was regarded by subsequent composers as the prototype of the instrumental lullaby. This piece that Chopin initially named "Variantes" was composed around the time of his great Sonata in B minor op. 58 and was renamed "Berceuse" only when it went to print. In it, the composer systematically subjects a four-measure motif to a series of variants which are linked in a continuous flow over an ostinato figure.
This Urtext edition reflects the latest state of Chopin research, offering a definitive musical text based on a careful evaluation of the sources. Readings and editorial decisions are documented in the Critical Commentary (Eng) and a detailed Foreword (Ger/Eng) provides information on the work. Hardy Rittner, a Chopin specialist as well as Professor of Piano at the Hochschule fur Musik Freiburg, has supplemented the composer's fingering from a historically informed perspective. His chapter on performance practice contains valuable notes, particularly on Chopin's pedal indications which clearly diverge in the sources, on rubato, the execution of ornaments as well as on tonal nuance, voice-leading and cantabilita.
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 | Urtext edition based for the first time on the Tatton Park manuscript as the main source
Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice
Complete facsimile reproduction of the Chelsea libretto
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| Purcell, Henry | | Dido and Aeneas | BARENREITER URTEXT
Editor: Shay, Robert | | BA 8744 | EUR 24.95 | Full score | 9790006563111 | The opera "Dido and Aeneas", a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes.
Long believed to have been conceived in 1689 for a performance at a "School for Young Gentlewomen", scholars have debated the origins of "Dido" in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts – now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) – were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again.
This is the first "Dido" edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly.
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 | Urtext edition edited by Beethoven specialist Jonathan Del Mar
With an Introduction by Misha Donat on the genesis of this group of works (Eng/Ger) and a Critical Commentary (Eng)
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| Beethoven, Ludwig van | | Trios for Pianoforte, Violin and Violoncello op. 1 | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | BA 10943 | EUR 52.00 | Score with parts | 9790006575428 | Artaria had already published variations on a Mozart aria by Beethoven in 1793 under the highly symbolic opus number 1. However, the composer was not satisfied with this work and ensured that the opus number was transferred to another group of works which appeared in 1795, the three Piano Trios op. 1. His hope that these compositions would be worthy of his "opus 1" and would make quite some impression was to be fulfilled.
The list of the subscribers to the first printed edition of the trios is impressive because it includes influential aristocrats, many of whom were connected to Haydn as the dedicatees of his works. Apparently Haydn lent a helping hand here to his former student. Also Haydn's compositional influence on Beethoven can be found in many aspects of the trios. However, ultimately it will have been the innovative elements that astonished and delighted the audience of early Vienna: the virtuosity and scope of the unusually large-scale works, the unprecedented extended coda of the outer movements, the radicality of the dynamic contrasts and the introduction of remote keys as a means of musical expression.
In order to clarify some unclear readings, the editor and Beethoven specialist Jonathan Del Mar consulted Beethoven's markings in his op. 104 (an arrangement of the Trio op. 1, no. 3) - a source that has not been taken into consideration for any previous edition of this trio.
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 | New Urtext Edition of the "American" Quartet
Standard notation used in the violoncello part
Detailed Foreword (Ger/Cz/Eng) and Critical Commentary (Eng) by the editor
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| Dvorak, Antonin | | String Quartet no. 12 in F major op. 96 "American Quartet" | BARENREITER URTEXT
Editor: Kube, Michael | | BA 11538 | EUR 14.95 | Set of parts | 9790260108974 | TP 538 | EUR 8.95 | Study score | 9790260108967
Dvorak composed his twelfth string quartet in F major op. 96, known as the "American" Quartet, in just twelve days during his summer vacation in Spillville, Iowa in June 1893. This immensely uplifting quartet has become one of the composer's most popular works because of its immediate musical appeal.
The work was issued by the publisher Simrock in Berlin in 1894; Johannes Brahms read the corrections, but the correction copy has unfortunately not survived. The editor therefore used the autograph as well as the score and parts of the first print.
In accordance with current practice, the violoncello part of this edition refrains from using the false treble clef which raises the music an octave higher. Instead, the tenor clef is used.
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 | Compilation of the instrumental numbers from all opera versions
Overview of the keys to enable tailor-made orchestral suites
Based on the scholarly-critical new edition of all original versions
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| Rameau, Jean-Philippe | | Castor et Pollux RCT 32A-B | Tragedie in one prologue and five acts
Symphonies / Versions from 1737 and 1754
Editor: Herlin, Denis | | BA 7562 | EUR 96.00 | Full score | 9790006577088 | This collection of all instrumental numbers from "Castor et Pollux" (tragedie in a prologue and five acts) brings together the movements and dances of all versions based on the volumes of the "Opera Omnia Rameau" IV.3 (version 1737, BA08874-01) and IV.23 (version 1754, BA08864-01).
Orchestras can use this to compile a suite to meet their needs aided by a register which offers a separate overview sorted by key. The performance material of the "Symphonies" is available on hire in the accustomed high quality of the "Opera Omnia Rameau".
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 | Fragmentary work completed with original music by Rameau
Based on the score of "Opera Omnia Rameau", Volume V/1
Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists
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| Rameau, Jean-Philippe | lo RCT45
Acte de Ballet | Jean-Philippe Rameau. Opera Omnia (OOR) V/1
Editor: Soury, Thomas | | BA 8869-90 | EUR 18.95 | Vocal score (Fr) | 9790006577262 | In Rameau's operatic oeuvre, "Io" is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, "Io" was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists.
The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of "Opera Omnia Rameau" propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon "Platee" in its 1745 version, which shows numerous parallels to "Io". Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion.
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 | Composition commissioned for the competition held by the Felix Mendelssohn Bartholdy University in Berlin in 2023
Includes the composer's registration specifications for the Karl Schuke organ at the Kaiser-Wilhelm-Gedachtnis-Kirche, Berlin
A work full of contrasts with an advanced but not extreme degree of difficulty
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| Szathmary, Zsigmond | Rubik's Cube
for Organ solo | Organova 16
Editor: Szathmary, Zsigmond | | BA 11267 | EUR 15.95 | 9790006577385 | "Rubik's Cube" was commissioned for the competition held by the Felix Mendelssohn Bartholdy University, Berlin, in 2023.
The composer about his work: "Everyone knows the Rubik's Cube, which Erno Rubik invented in 1974. The small coloured cubes should be brought into a certain order by rotating them. My small cubes here are the numerous, sometimes very short motifs, which are very different rhythmically, in terms of colour and musical expression. I have tried to string these entities together, to compose them in such a way that there is always an organic musical development which does not come to a standstill and ultimately to a dead end – as can unfortunately easily happen when trying to solve the Rubik's cube. What is desired is a very colourful registration and a powerful interpretation."
Rhythmic variety and a wide range of expression characterize this energetic piece, which lasts approximately 6 minutes and consists of three parts entitled: "Allegro con moto", "Lento" and "Agitato, molto irato". With the help of precise performance markings, all articulatory shadings from staccato to accents to singing legato are called for and result in a contrasting whole.
Numbers from 1 to 13 entered by the composer on the last page represent a segment of the Fibonacci sequence. These numbers form a structuring element.
The edition contains the registration specifications which correspond to the sound image desired by the composer on the organ of the Kaiser-Wilhelm-Gedachtnis-Kirche in Berlin. When the work is played on organs with other registration possibilities, new sound colour spectra open up.
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Notes
Barenreiter notebook with a "Chopin pink" cover | |
| BA 8100-37 | EUR 0.95 | Format: A6 | 32 pages | Minimum order quantity: 10 copies | 9790006577392 | This little notebook is handsome as well as practical.
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.
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