| | Urtext edition of Beethoven's best-known piano piece with new scholarly discoveries
Transcription of Beethoven's draft of version 1 and revision for version 2
Performable completion of the autograph draft for version 2 and historically informed fingering |
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| Beethoven, Ludwig van | | Bagatelle in A minor for Piano WoO 59 "Fur Elise" | BARENREITER URTEXT
Editor: Aschauer, Mario | | BA 11839 | EUR 4.50 | 9790006568673 | A number of questions regarding Beethoven's most famous bagatelle, "Fur Elise", remain unanswered until today: What happened to the complete autograph and who was "Elise"? The bagatelle was written between 1808 and 1810. It was first published in 1867 by the Beethoven scholar Ludwig Nohl who still had access to Beethoven's autograph. What has survived, however, is an extensive autograph draft that Beethoven substantially revised around 1822 for a planned but then unrealised collection of bagatelles and which differs significantly from the known printed version.
The critical edition by the renowned Beethoven scholar Mario Aschauer comes to new conclusions. It offers, in addition to the version of the first printing from 1867, a transcription of Beethoven's draft that makes the changes to the 2nd version visible in grey print as well as a performable completion by the editor of that 2nd version. The work's complicated genesis and source situation are explained in the Preface (Ger/Eng), and in the Critical Commentary (Eng) differing readings and editorial decisions are discussed. This definite edition with historically-informed fingering invites you on an exciting voyage to rediscover this popular piece!
On YouTube you can enjoy the editor’s recording of “Fur Elise” on a wonderful fortepiano by Michael Rosenberger (Vienna, 1810). In the commentary Mario Aschauer sheds light on this famous bagatelle. | | | | |
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| It was one hundred years ago, on 16 December 1921, that the French composer Camille Saint-Saens (* 1835) passed away. He left behind an œuvre of no less than 700 works encompassing all genres from piano music to opera. In recent years Barenreiter has published numerous scholarly-critical editions of this versatile composer’s music including the first volumes of the new series “Œuvres instrumentales completes” (Complete Instrumental Works). The focus section on Barenreiter's website contains not only a short essay by Saint-Saens specialist Michael Stegemann introducing his life and works but also presents the Urtext editions published to date. |
| | One of Camille Saint-Saens' most popular works
Advance performing edition of the volume "Œuvre pour violon et piano" (BA 10306) due to appear as part of the "Saint-Saens Complete Edition of the Instrumental Works"
Detailed Foreword (Ger/Eng/Fr) and Critical Commentary (Eng) |
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| Saint-Saens, Camille | Danse macabre op. 40
Transcription for Violin and Piano by the composer | BARENREITER URTEXT
Editor: Dreze, Celine | | BA 10941 | EUR 13.95 | 9790006569700 | In his symphonic poem "Danse macabre" Saint-Saens takes up a poem by Henri Cazalis that he had already set as an art song. Here the Devil brings the dead to life by playing his violin. Although the orchestral work was given a lukewarm reception in its early performances, or was even rejected, it became highly popular and internationally famous in the years that followed. Of the countless later arrangements and variations (e.g. by Franz Liszt), Saint-Saens' own version for violin and piano stands out as particularly successful.
Barenreiter's new edition is based on the forthcoming respective volume of the "Saint-Saens Complete Edition of the Instrumental Works". It represents the first modern scholarly edition of this celebrated piece. This Urtext edition draws on the original print of the 1877 version, while eliminating its many misprints and anomalies on the basis of the autograph. | | |
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| | French operatic arias for baritone
Suitable for professional opera singers and voice students
Practical, managable piano part |
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| Gluck, Christoph Willibald | | French Operatic Arias - Baritone | BARENREITER URTEXT
Editor: Dratwicki, Benoit | | BA 8169 | EUR 37.95 | Vocal score (Fr) | 9790006563708 | This volume contains French operatic arias for baritone from works that opera reformer Christoph Willibald Gluck was commissioned to compose for the Paris Opera:
"Iphigenie en Aulide" (1774) | "Cythere assiegee" (1775) | "Alceste" (1776) | "Armide" (1777) | "Iphigenie en Tauride" (1779).
The informative text sections contain a Foreword (Fr/Eng), a brief account of the dramatic context and a literal English translation of each aria.
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| | First scholarly-critical edition of this work
High-quality Urtext edition based on the "Complete Works of Gabriel Faure”
Standard repertoire work for every string quartet
Foreword (Eng/Fr/Ger) |
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| Faure, Gabriel | | String Quartet op. 121 N 195 | BARENREITER URTEXT
Editor: Sobaskie, James William | | BA 7901 | EUR 39.95 | Parts in slipcover | 9790006539574 | TP 412 | EUR 17.50 | Study score | 9790006205257
Gabriel Faure’s only string quartet which was composed in 1923-24 is the composer’s final work and was written at the suggestion of his publisher Jacques Durand. Until then, Faure had always put off writing a string quartet, evidently because of Beethoven’s imposing shadow.
When Faure composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse’s additions were however very extensive; he even altered and supplemented some of Faure’s own markings in the exposition.
Barenreiter’s first ever scholarly critical edition of the quartet utilises all sources including the composer’s letters which provide valuable insights into the origins of the composition. | | | | |
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| | A major addition to the woodwind quintet literature
Includes a score and 5 parts
Medium level of difficulty |
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| Gershwin, George | Rhapsody in Blue For Woodwind Quintet
(Flute, Oboe, Clarinet (in B), Bassoon, Horn) | | Arranger: Linckelmann, Joachim | | BA 8612 | EUR 28.50 | Score with parts | 9790006543724 | Everyone knows the famous clarinet glissando opening in Gershwin’s “Rhapsody in Blue”, but how many know that the original version was scored for two pianos and that the glissando was initially just an ascending scale?
Joachim Linckelmann’s superb arrangement of this modern classic is based on this original version and, with the exception of two solo piano passages that cannot be realized with a woodwind quintet, the entire work is presented. | | |
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| | Handel's most frequently performed opera
Offering a well-founded insight into Handel's work methods when designing and redevising his characters
A reliable scholarly-critical edition granting orientation with regard to the complex source situation
With an extensive Foreword (Ger/Eng) |
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| Handel, George Frideric | Giulio Cesare in Egitto HWV 17
Opera in tre atti | Halle Handel Edition (HHA) II/14.1+2
Editor: Clausen, Hans Dieter | | BA 10720-01 | EUR 711.00 | 9790006550302 | | Reduced subscription price available | "Giulio Cesare in Egitto" is by far Handel's most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel's lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations - essentially four versions - on the basis of a meticulous study of the sources within the framework of the "Halle Handel Edition". The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini.
In his extensive Foreword Hans Dieter Clausen not only describes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in "Giulio Cesare". Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel's work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.
This volume replaces BA 4078-01 | | |
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| | Tried and trusted critical edition of the opera with a Preface by the editor
Vocal parts in Czech, German (Max Brod), and English (Norman Tucker)
Libretto transcribed in three languages (Cz/Eng/Ger) and a detailed critical report in English
With notes on performance issues by Sir Charles Mackerras |
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| Janacek, Leos | The Cunning Little Vixen
Opera in three acts | Complete Critical Edition of the Works of Leos Janacek A/8
Editor: Zahradka, Jiri | | BA 6867-01 | EUR 620.00 | 9790260109377 | | Reduced subscription price available | Leos Janacek began composing his seventh opera, "The Cunning Little Vixen", based on the popular feuilletons of Rudolf Tesnohlidek, in January 1922. The first copy of the score, was completed by Vaclav Sedlacek in October 1923 but is now lost, while the second copy was prepared by Jaroslav Kulhanek in January 1924.
The world premiere took place on 6 November 1924 under the direction of Ota Zitek and was conducted by Frantisek Neumann. The vocal score was published in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right.
This volume of the complete edition reprints the critical edition by Jiri Zahradka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). The edition draws on all extant sources and - in consideration of Janacek's active participation in rehearsals for the premiere production - integrates both the dynamics of Frantisek Neumann and the performance markings of Sir Charles Mackerras into the musical text.
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| Telemann, Georg Philipp | Musicalisches Lob Gottes
13 ausgewählte Kirchenmusiken zwischen 1. Advent und Michaelis | Telemann Musical Works 62
Editor: Neubacher, Jurgen | | BA 7811-01 | EUR 482.00 | 9790006560110 | | Reduced subscription price available | This volume represents the only annual cycle of sacred music of the 18th century printed in score; it was completed in 1744. The textual basis stems from Erdmann Neumeister. In contrast to the usual practice of the Telemann Edition to edit segments of the church years, here the entire course of the church year is presented. The music to be performed at the beginning of each part of the church year and at special celebrations is included.
Telemann used a variety of expressive polyphonic techniques to create the introductory dicta. These, like the chorales, are written in concentrated three-part harmony.
The preface provides information on the printing history of the church year and its dissemination supplemented by comments on performance practice; the critical report analyses the rich source material.
Editions of Telemann's preface (with his performance notes and an explanation of his figured bass system), the preface on the printing of the texts and the texts of the compositions contained in the volume flank the edition of the music. Facsimiles from the original print and from Hamburg performance materials are included. | | |
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| Schutz, Heinrich | | Kleine geistliche Konzerte II 1639 | New Schutz Edition 12
Editor: Schmidt, Beate Agnes | | BA 5966-01 | EUR 344.00 | 9790006497669 | | Reduced subscription price available | The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and 1639, are among the best-known and well-loved compositions of Heinrich Schutz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schutz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations; particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home.
Unlike the 1963 edition of the "Kleine geistliche Konzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schutz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music. | | |
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| | Multifaceted musical setting of the French texts
Demanding baritone and piano parts
Range of voice: G up to e'
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| Schlee, Thomas Daniel | | Trois Poemes for Baritone and Piano op. 66 | |
| BA 11053 | EUR 21.95 | Singing score | 9790006558032 | | Three poems by the French lyricist Louis Amade, known for his texts for Edith Piaf and Gilbert Becaud, form the basis for a series of pictograms of human emotional states. While keeping to singeable melodies the music explores multifaceted shades of moods. | | |
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| | Of medium technical difficulty
Suitable for teaching and study
Individual musical language |
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| Schlee, Thomas Daniel | | Romance sans paroles for Violoncello and Piano op. 66a | |
| BA 11057 | EUR 14.95 | Performance score with part | 9790006558292 | The intimate atmosphere of the first of the "Trois Poèmes" op. 66 (BA 11053) is evoked here in a purely instrumental form - technically easily accessible, with an expressive melodic and corresponding harmonic treatment.
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| Schlee, Thomas Daniel | | Romance sans paroles for Viola and Piano op. 66b | |
| BA 11058 | EUR 14.95 | Performance score with part | 9790006558308 | | |
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| | Virtuosic concert work
Demanding violin and piano parts
Worthwhile addition to the chamber music repertoire |
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| Schlee, Thomas Daniel | | Suite for Violin and Piano op. 82 | |
| BA 11086 | EUR 24.95 | Performance score with part | 9790006564446 | A suite whose movements always deliver something other than what they seem to promise. But throughout, the two instruments and respectively their players act like two people in very specific situations:
I.: The opening movement is reserved for the piano; the initially earnest, solitary cantilena intensifies creating expectation. Suddenly
II.: the violin sounds. Its moving figures replace the now silent piano, also soloistically.
III. "Passacaglia": The title is taken literally - the two instruments/persons encounter each other in the street. Two musical characters who meet at a specific point, recognize each other, but move on again, each one by itself.
IV. "Rondo": The two of them dance together. Before me, I saw people dancing the Sardana - a round dance - in front of the cathedral of Barcelona. Four themes in different time signatures circle ceaselessly between the two instruments.
V. "Fuga": At last, regardless, panic flight - again the title is taken literally ... Human, only too human ... | | |
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| | Attractive instrumentation
Suitable for concert and church service
Appealing sound colours |
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| Schlee, Thomas Daniel | | Introduktion und Fantasie for Violin and Organ | |
| BA 11087 | EUR 20.95 | Performance score with part | 9790006565078 | | In a wide-reaching form the music develops increasing density in texture, dynamics und sound quality. The work can be performed as an anthemic coda together with the "Cantus" requiring the same instrumentation (BA 7455). | | |
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| | Sonorous setting of the Latin text
Suitable for concert and church service
Range of the singing voice: c' up to f-sharp'' |
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| Schlee, Thomas Daniel | | Psalm 128 for Higher Voice and Organ | |
| BA 11415 | EUR 14.95| Singing score | 9790006569601 | | Psalm 128 praises a life devoted to God, but also praises the family. The work strives to depict the bright striding along this path. The images of the text are set to music by various modal reinterpretations of the diatonic scale. The gentle vision of peace, which this psalm suggests, also transforms the musical sounds into lighter nuances. | | |
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To order now, please e-mail to international@baerenreiter.com or print this out and fax it to +49 (0)561 3105310.
Errors excepted; price changes and delivery terms subject to change without notice.
Responsible for content (i.S. des § 10 Abs. 3 MDStV): Corinne Votteler
Your contact at Baerenreiter: Carolin Jetter · Fax +49 (0)561 3105310
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