| +++ Barenreiter News November 2023 +++ |
Dear customer
We are pleased to present our newsletter with details on Barenreiter’s new publications.
Have you already browsed through our jubilee editions? We are sure you will find something that would be an ideal gift. The prices are unbeatable!
Would you like to learn more about Barenreiter? In our newsletters you can find out more about the history of the publisher.
Please visit our anniversary page 100.baerenreiter.com and our social media channels regularly. You will find background information and exciting news throughout our jubilee year 2023/2024.
Further information on these editions and music samples can be found on our website. All editions can be ordered directly from our webstore.
We look forward to receiving your orders.
With kind regards
Your international sales and marketing team
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Bärenreiter would be nothing without conductors, instrumentalists and singers who bring our music to life all over the world.
We are immensely grateful for their companionship, their enthusiasm and for their feedback.
During our entire anniversary year we will be raising the curtain for our Barenreiter Jubilee Ambassadors and presenting selected Ambassadors in our newsletters.
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| Andreas Ottensamer, Clarinettist, Conductor | |
"I would like to warmly congratulate Bärenreiter on its anniversary! Bärenreiter scores have accompanied me all my musical life and I am very happy to be connected to the publisher.
As performers, we go in search of the core of the music in every work - critical editions, such as the Bärenreiter Urtext editions, are essential in order to get as close as possible to the composer's intentions."
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 | Urtext edition based on the Tatton Park manuscript
With a preface on the genesis of the work and an act-by-act summary of the plot (Eng/Ger)
With Dido's song "Ah! Belinda" in the version of "Orpheus Britannicus" from 1698 in the appendix |
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| Purcell, Henry | | Dido and Aeneas | BARENREITER URTEXT
Editor: Shay, Robert | | BA 8744-90 | EUR 19.95 | Vocal score (Eng) | 9790006563128 | Already available: BA 8744 | EUR 24.95 | Full score | 9790006563111
Performance material available on hire
The vocal score of Henry Purcell's famous opera "Dido and Aeneas" is based on the Barenreiter Urtext edition of the full score. As its main source served the Tatton Park manuscript (National Trust), which was produced in the second half of the 18th century by Philip Hayes, who is known for his meticulous copies of Purcell's music. In addition, the sources from the Bodleian Library Oxford (Great Britain) and the Wakayama Prefectural Library (Japan) have been re-evaluated for this edition.
The piano arrangement was done by Timothy Roberts, who was harpsichordist in the Gabrieli Consort & Players under the direction of Paul McCreesh for many years and has published numerous editions, including for Faber Music and Oxford University Press.
The text section includes an informative preface by the editor Robert Shay on the work's history with an account of the sources and an act-by-act summary of the plot. |
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 | Urtext edition based on the corresponding "New Bach Edition" (NBA) volume in its second printing (BA 5065)
Concertato harpsichord part with a realized basso continuo in the tutti passages
Almost identical instrumentation to the Brandenburg Concerto No. 5 (BWV 1050: BA 5112, BA 5205) – an ideal combination |
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| Bach, Johann Sebastian | | Concerto for Harpsichord, Flute, Violin, Strings and Basso continuo in A minor BWV 1044 "Triple Concerto" | BARENREITER URTEXT
Editor: Kilian, Dietrich | | BA 5259 | EUR 34.95 | Full score | 9790006568437 | The Concerto in A minor (BWV 1044) is often referred to as the "Triple Concerto" and may have been written by Bach for a public concert at Zimmermann's coffee house in Leipzig. The "Triple Concerto" has been composed for orchestra and three soloists (harpsichord, flute and violin), the precise solo instrumentation of the Brandenburg Concerto No. 5.
This critical Urtext edition is based on the second printing of the "New Bach Edition" (NBA) volume edited by Dietrich Kilian. He examines the complex genesis of the work from Bach's earlier compositions – e.g. from the Prelude and Fugue for Harpsichord (BWV 894) or the Trio Sonata for Organ (BWV 527). Bach's autograph is lost, but copies by Johann Friedrich Agricola and Johann Gottfried Muthel have been handed down and it is these sources to which the editor refers. | | | | BA 5259-68 | Harpsichord solo, Basso continuo | EUR 11.95 |
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 | | Apart from the scores, this volume contains the complete texts, facsimiles from the musical sources, a detailed Foreword (Ger/Eng) and a Critical Commentary (Ger) |
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| Telemann, Georg Philipp | | Sechs späte Kirchenmusiken | Georg Philipp Telemann. Musical Works 61
Editor: Reipsch, Ralph-Jurgen | | BA 7812-01 | EUR 420.00 | Full score, linen-bound | 9790006560103 | | Reduced subscription price available | For the first time, examples of church music from Telemann's late creative period, which arguably is marked above all by the great concert oratorios, have been edited and are presented in the "Telemann Complete Works", volume 61. Included are six compositions from the years 1759 to 1762 which were written for Ascension Day, the 1st day of Easter, the 1st day of Whitsuntide and Michaelmas, supplemented by the ode "Die Begnadigung", which was performed in 1762 on the 19th Sunday after Trinity as church music after the sermon. In addition, Telemann's melody and the six-verse text were printed in the journal "Unterhaltungen" in 1766. ...
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 | With a Foreword by the editor on the genesis of the work and a Critical Commentary (Eng/Ger)
With the original version of the beginning of the opera in the appendix
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| Martinu, Bohuslav | | Alexandre bis H 255 | The Bohuslav Martinu Complete Edition I/1/8
Editor: Zichova, Jitka | | BA 10586-01 | EUR 335.00 | Full score, linen-bound | 9790260109773 | | Reduced subscription price available | Bohuslav Martinu composed his last stage work of the pre-war period, "Alexandre bis", in 1937 for the World Exhibition in Paris of the same year. The libretto for this chamber opera buffa for five people was written by the French writer and journalist Andre Wurmser. It is a light-hearted parody text full of puns and exaggerations. The plot is set around 1900.
Martinu was presumably unable to complete the work in time; in any case, the opera was not premiered until several years after the composer's death, on February 18, 1964, at the National Theater in Mannheim. The Barenreiter publishing house had produced the performance material (score, vocal score and orchestral parts) for this purpose. The Czechoslovak premiere followed on June 5 of the same year at the National Theater in Brno.
This volume of the Martinu Complete Edition is based on a careful analysis of the autograph and the composer's extensive correspondence, which led to a number of new insights into the genesis of the work. The original beginning of the opera, which includes the complete prelude, the first scene and part of the second scene, is also published for the first time in the appendix. |
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 | Excavation of a small treasure from Rameau's pen
Completion with original music by Rameau
First edition with an informative text section on the probable context of the work's creation |
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| Rameau, Jean-Philippe | | lo RCT 45 | Jean-Philippe Rameau. Opera Omnia (OOR) V/1
Editor: Soury, Thomas | | BA 8869-01 | EUR 150.00 | Full score, linen-bound | 9790006577255 | | Reduced subscription price available | Rameau's "Io" has only survived posthumously, namely in the form of a copy of the score and the orchestral parts, both of which were produced in Rameau's successor generation from the now lost autograph. The edition of this Acte de Ballet prepared by the Opera omnia Rameau is therefore a first edition based on non-original sources, which are also fragmentary.
In order to make the piece performable, the OOR decided to complete the ending using sequences from the early version of the opera "Platee" and to precede it with a symphony from the same piece as an overture, as the score simply begins with a recitative. The introduction to the volume examines in detail the evidence on questions of dating as well as various hypotheses about performance possibilities and librettists. The dating is central to the approach of completion, as there is much to suggest that "Io" must have been composed between 1740 and 1745, the creative period from which the early version of "Platee" also originates. |
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German-German Scholarship: The Bach Complete Edition
It seems unusual today for a head of state to approve a music publishing project. However, if one considers the immediate post-war period, which was marked by the Cold War, it seems understandable. After countless discussions and negotiations between the founder of the publishing house, Karl Vötterle, the cultural politician Otto Benecke and the entrepreneur and arts patron Bernhard Sprengel, the Federal Government, at the behest of the then Federal President Theodor Heuss, commissioned Bärenreiter on 3 March 1951 to commence the publication of the "New Edition of the Complete Works" of Johann Sebastian Bach.
This enabled Karl Vötterle to make contact with the GDR, a necessary step since most of the autographs were held at the State Library in East Berlin. Four institutions worked together on this mammoth project: As early as 1950, on the occasion of the 200th anniversary of Bach’s death, the Bach Archive was founded in Leipzig with the aim of collecting and researching all sources on this composer’s life and oeuvre. It was headed by Werner Neumann. At the same time, the Johann Sebastian Bach Institute, whose task was to edit Bach's works on a scholarly basis, was opened in Göttingen under the direction of Alfred Dürr. And as a publishing counterpart in East Germany, Vötterle encouraged the founding of "VEB Deutscher Verlag für Musik" in Leipzig. Thus, both publishing houses shared the supervision of the editions, such as production and distribution of the volumes.
On 18 September 1954, the first volume of "Cantatas for Advent", which Dürr and Neumann published together, was ceremoniously presented in Cologne in the presence of the Federal President. In June of the following year, a festive event took place in Leipzig. In 2007, the “New Bach Edition” was declared completed at an official ceremony, also in Leipzig. Ninety-six volumes of music were published in eight series along with the respective Critical Commentaries and, subsequently, a further five supplementary volumes were issued. One volume is still to come.
For further information on the “New Bach Edition”:
www.baerenreiter.com/en/catalogue/complete-editions/bach-johann-sebastian/nba/
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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): Ivan Dorenburg.
Your contact at Barenreiter: Carolin Jetter · jetter@baerenreiter.com · Fax +49 (0)561 3105310
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