| +++ Barenreiter News - May 2022 I +++ |
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| Barenreiter News – May 2022 I |
Dear musicians,
We are pleased to present our newsletter with details on Barenreiter's new publications.
Further information on these editions and music samples can be found on our website. All editions can be ordered directly from our webshop.
We look forward to receiving your orders.
With kind regards
Your international sales & marketing team
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 | New scholarly-critical edition of Ravel's famous sonata
First scholarly-critical edition of the "Berceuse sur le nom de Faure"
Foreword on the historical context and performance practice issues (Eng/Ger) as well as a Critical Commentary (Eng) |
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| Ravel, Maurice | | Sonata / Berceuse sur le nom de Faure for Violin and Piano | BARENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 9428 | EUR 23.95 | Score and part | 9790006541362 | Ravel worked on his Sonata for Violin and Piano for four years (1923-1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the "fundamental incompatibility" of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a "perpetuum mobile" finale.
This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the "Berceuse sur le nom de Faure" which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Faure's name.
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 | New critical edition including sources never before consulted
With a detailed Critical Commentary (Eng) and description of sources
Orchestral parts in a large format (25.5 cm × 32.5 cm) |
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| Beethoven, Ludwig van | | Overture "Die Geschopfe des Prometheus" for Orchestra op. 43 | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | BA 11902 | EUR 31.95 | Full score | 9790006573417 | Beethoven composed the ballet music "Die Geschopfe des Prometheus" during 1800–01, commissioned by the ballet master Salvatore Vigano for performances with his Viennese company. Although the ballet was initially quite successful, with almost thirty continuous performances, it did not enjoy a sustained performance tradition. Its overture, however, was a different matter: considered almost a symphonic movement in terms of orchestration, style and structure, it was often performed on its own even during Beethoven's lifetime.
In general, previous editions of this overture relied on the first print as the main source. However, the authenticity of this source cannot be convincingly proven. For this new edition, Beethoven specialist Jonathan Del Mar incorporates various manuscript sources, including a set of parts from 1803/4 that has never been considered before. In this way, numerous discrepancies could be clarified.
| | | | BA11902-74 | Violin I | EUR 5.95 | Minimum order quantiy: 4 copies |
| | BA11902-75 | Violin II | EUR 5.95 | Minimum order quantity: 4 copies |
| | BA11902-79 | Viola | EUR 5.95 | Minimum order quantity: 3 copies |
| | BA11902-82 | Violoncello e Basso | EUR 5.95 | Minimum order quantity: 2 copies |
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 | First scholarly-critical edition
The popular "Moravian Duets" in an arrangement by the composer
Ideal for professional as well as amateur singers (female choir)
With a Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor |
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| Dvorak, Antonin | Five Moravian Duets.
Arrangement for 4 female voices a cappella by the composer B 107 | BARENREITER URTEXT
Editor: Nova, Katerina | | BA 10439 | EUR 11.95 | Choral score | 9790260109308 | Dvorak composed the cycle "Moravian Duets" for two female voices with piano accompaniment at the request of the Prague wholesale merchant Jan Neff in 1876. This was a turning point in the career of the then still unknown composer: it marked the beginning of his lifelong collaboration with the Simrock publishing house and opened the way to international recognition.
In March 1880, Dvorak arranged five songs from this cycle for four female voices a cappella. The occasion was a concert to support the construction of the Prague National Theatre, at which the composer conducted his own works.
The "Five Moravian Duets" now appear for the first time in a scholarly-critical edition. The autograph serves as the main source; secondary sources consist of transcriptions by an unknown hand which include corrections by the composer. |
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 | First separate Urtext edition of the "Concerts royaux" for chamber ensemble, based on the pioneering new edition of Book III of the "Pieces de clavecin" (BA 10846)
Preserves essential features of the original notation as well as Couperin's original embellishment signs
Notes on historical performance practice, glossary, Couperin's table of embellishments and symbols (Fr/Eng) and detailed Critical Commentary (Eng)
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| Couperin, Francois | Concerts Royaux (1722)
for one or two treble instruments,
bass viol, bassoon and harpsichord | BARENREITER URTEXT
Editor: Herlin, Denis | | BA 11844 | EUR 26.95 | Score with two inserted parts | 9790006574797 | This edition contains Couperin's four "Concerts royaux", which were published in 1722 as part of Book III of his "Pieces de clavecin". For the first time it makes these pieces, scored for chamber ensemble, separately available in an Urtext edition. It is based on the musical text of the solo harpsichord version found in the pioneering new edition of "Pieces de clavecin III" (BA 10846). The editor has painstakingly evaluated the many impressions of the original print, most of which he himself discovered in libraries throughout the world.
The preface (Fr/Eng) contains informative details on historical performance practice and on the conception of the "Concerts royaux", which Couperin expressly intended to be performed either by solo harpsichord or with accompanying ensemble. The modern engraving preserves essential features of the original print, which largely avoids page-turns within the pieces. It thereby brings today's players close to the special sound of this music in a fascinating way. Couperin's table of embellishments and symbols as well as a glossary (Fr/Eng) and a detailed Critical Commentary (Eng) round off this long-overdue Urtext edition. |
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Notes
Barenreiter notebook with a "Liszt blue" cover | |
| BA 8100-35 | EUR 0.95 | Format: A 6 | 32 pages | Minimum order quantity: 10 copies | 9790006575862 | 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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| With a detailed introduction, a bibliographic description of the “editio princeps”, separate editorial assessments of the poetic texts and the music, and a critical apparatus
All text parts in Italian and English
With a selection of facsimiles from the original prints |
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| Gesualdo, Carlo | | Madrigali a cinque voci. Libro terzo | New Gesualdo Edition 3.
Editor: Saggio, Francesco | | BA 10383-01 | EUR 248.00 | Linen-bound full score | 9790006557233 | | Reduced subscription price available | Carlo Gesualdo's "Madrigali a cinque voci, Libro Terzo" ("Third book of five voices madrigals") is the third book that Gesualdo issued in Ferrara by the ducal printer Antonio Baldini but, likely, it is the first he wrote after his arrival in Ferrara and his wedding with Eleonora d'Este.
The "Libro Terzo" is notable at least for two reasons: first, the more specific and careful choice of poems, all originated in the Ferrarese court; second, the search for a personal language, founded on juxtaposition of contrasting musical solutions (imitation vs. homophony, static sections vs. dynamic sections, just for example), and even more daring use of dissonance and chromaticism with expressive function (as in the 9th madrigal, "Non t'amo, o voc'ingrata").
This new critical edition, based on the "editio princeps" (Ferrara 1595, unfortunately incomplete today) and the first Venetian edition (1603), offers a more authentic image of these madrigals, in particular in the use of accidentals, that Molinaro's "Partitura" of 1613 had simplified and conventionalised.
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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 Barenreiter: Carolin Jetter · Jetter@baerenreiter.com · Fax +49 (0)561 3105310
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