| Barenreiter Newsletter November I 2020 |
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| Barenreiter News – November I 2020 |
Dear musicians
We are pleased present to 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 webstore.
We look forward to receiving your orders.
Please keep your spirits up and stay healthy!
With kind regards,
Your international sales and marketing team
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 | The Barenreiter standard edition, revised and newly engraved
Based on the most up-to-date state of research as published in the New Bach Edition - Revised (NBArev)
With an informative Preface by Peter Wollny (Ger/Eng)
This edition replaces BA 5116 |
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| Bach, Johann Sebastian | | Three Sonatas and Three Partitas for Solo Violin BWV 1001-1006 | BARENREITER URTEXT
Editor: Wollny, Peter | | BA 5256 | EUR 16.50 | 9790006561605 | The new publication of the Sonatas and Partitas BWV 1001-1006 (BA 5256) constitutes a complete revision of our older edition (BA 5116). The musical text has been edited by Peter Wollny and represents the most up-to-date state of research as published in the New Bach Edition - Revised (NBArev), volume BA 5937-01. The edition is mainly based on Bach's unusually clear autograph which is considered among the most beautiful manuscripts by the composer. All relevant secondary sources have been taken into consideration in order to clarify ambiguities. These include five contemporary copies, including one by Anna Magdalena Bach, and four manuscripts from the late 18th and early 19th centuries.
The musical text has been newly engraved with a clear and generous layout, whereby page turns and pagination have been retained from the previous edition. This allows the straightforward navigation between a copy of the previous and this new edition. The detailed Preface (Ger/Eng) provides information on the genesis of the Sonatas and Partitas, their context and the sources. |
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 | One of the most frequently played concertos of the 20th century repertoire for bassoon
Piano reduction of the final version
Includes a solo part revised by Ondrej Sindelar |
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| Pauer, Jiri | | Concerto for Bassoon and Orchestra | |
| BA 11567-90 | EUR 27.95 | Piano reduction | 9790260109278 | The Concerto for Bassoon was the first solo wind concerto penned by the major Czech composer Jiri Pauer (1919-2007). It was composed in 1949 and after some re-working the final version was premiered in 1952 by Czech bassoonist Karel Bidlo and the Czech Philharmonic.
Although technically very demanding, the concerto is written with a detailed knowledge of the bassoon's character and possibilities, making full use of the instrument's wide range of expression. This edition adopts the musical text of the first print from 1967 (Supraphon), the solo part has been revised. |
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 | Study score of this pioneering Urtext edition by Jonathan Del Mar
Based on previously unknown sources
With an Introduction and Foreword (Eng/Cz/Ger) |
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| Dvorak, Antonin | | Symphony No. 8 in G major op. 88 | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | TP 618 | EUR 19.50 | Study score | 9790006567409 | With its Bohemian echoes and thematic diversity, Symphony No. 8 enjoys a special status among lovers of Antonin Dvorak's music.
For a long time, the performance material for this work has been notorious for its myriad mistakes. For his edition of Dvorak's 8th Symphony, editor Jonathan Del Mar was therefore faced with the task of making comprehensive corrections. He has taken into account the engraver's copy, which was actually discovered in a trash bin at Novello's in 1964. Its title page bears the words "Copied from my original manuscript" in Dvorak's hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist's pen.
This study score edition is complemented by the full score and orchestral parts (BA 10418). | | |
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| Rameau, Jean-Philippe | | Le Temple de la Gloire RCT 59 | | Editor: Dubruque, Julien | | BA 7563 | EUR 49.95 | Full score | 9790006567522 | Rameau's only extant opera based on a libretto by Voltaire has come down to us in two versions (1745 and 1746), that of 1745 having long been regarded as lost. Volume IV.12 of the "Opera omnia Rameau" now provides a complete edition for the first time and thus the means to perform both versions.
Voltaire refers to Metastasio in his libretto, in that he wanted to liberate the opera from the gallant milieu in order to make it a moralising, as edifying as it is political, work of art for the stage. Following a prologue dedicated to the personified Envy, the tyrants Belus and Bacchus are chased out of the Temple of Glory and Trajan is finally crowned with a laurel wreath for defeating the rebels, forgiving them and then transforming the Temple of Glory into a public temple.
The opera's individual instrumental movements are also available in the customary manner now as a practical separate edition.
The performance material is available on hire. |
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 | High-quality facsimile of Wagner's final music drama
Reproducing the unusual ink colour violet used by Wagner
Clear and readily legible handwriting |
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| Wagner, Richard | | Parsifal | Documenta musicologica II/56 / BARENREITER FACSIMILE
Editor: Konrad, Ulrich | | BVK 2418 | EUR 699.00 | 9783761824184 | Knowledge, pity, redemption: Richard Wagner took up these major themes in "Parsifal", the music drama that he completed 13 months before his death and referred to as his "most conciliatory work". Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day.
Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure.
The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance.
In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript. |
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| New Digital Flyer: Richard Wagner - Parsifal | |
SPA 50-94 | 4 pages | English | no prices | digital format only
You can view or download this flyer. | | |
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| Gounod, Charles | | Faust (Dialogue Versions) | L'Opera francais
Editor: Prevost, Paul | | BA 8714-01 | EUR 1424.00 | 2 volumes | 9790006563258 | | Reduced subscription price available | Charles Gounod's "Faust" secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opera containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version "version opera" was published in a separate edition BA 8713 in 2016.)
Even as the rehearsals were taking place at the Theatre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Chatelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prevost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown "Faust" - a "Faust" that is rooted in the tradition of the opera comique. |
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 | Concert overtures at an astonishingly early point in the history of music
"Italian Overture in C maj" (D 591) in authentic versions for the first time
Musical course of the "Overture in D maj" (D 590), incorrectly handed down, put right for the first time
Radically new spheres of expression in the "Overture in E min" (D 648) |
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| Schubert, Franz | | Overtures | Franz Schubert. New Edition of the Complete Works V/5
Editor: Kube, Michael | | BA 5573-01 | EUR 594.00 | 9790006497416 | | Reduced subscription price available | In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the "Overture in D maj" (D 4) to the comedy "Der Teufel als Hydraulicus" (The Devil as Engineer) and the "Overture in D maj" (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title; the epithet common for two works "in the Italian style" was only added posthumously.
Our volume sees the publication for the first time of the "Italian Overture in C maj" (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the "Overture in D maj" (D 590) has likewise been rectified for the first time.
Overshadowed by his symphonies, Schubert's overtures have hitherto been largely undervalued both in their reception and in musical practice - including the "Overture in E min" (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works. |
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| Handel, George Frideric | | Berenice, Regina d'Egitto HWV 38 | Halle Handel Edition (HHA) II/37
Editor: Hirschmann, Wolfgang | | BA 10719-01 | EUR 305.00 | 9790006550296 | | Reduced subscription price available | "Charming Berenice" - the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this "inexpressible delight". "Berenice" was premiered at Covent Garden Theatre in London just a few days later on 18 May 1737.
"Berenice" is one of the "light" operas and offers a wealth of musical gems, the second movement of the overture having become famous as "The Minuet from Berenice", for instance, as has Berenice's extended aria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming in Fabio's "Vedi l'ape" and the sorrowful cooing of a dove in Selene's "Tortorella che rimira".
The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix which Handel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story's historical context, the source material and reception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report. |
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| Handel, George Frideric | | La Bellezza ravveduta nel trionfo del Tempo e del Disinganno HWV 46a | Halle Handel Edition (HHA) I/4,1
Editor: Pacholke, Michael | | BA 10721-01 | EUR 275.00 | 9790006550326 | | Reduced subscription price available | With his "La Bellezza ravveduta nel trionfo del Tempo e del Disinganno" ("Beauty Reformed in the Triumph of Time and Enlightenment"), HWV 46a, the 22-year-old Handel notched up one of his greatest successes in this genre right at the very beginning of his oratorio oeuvre. Composed in Rome in 1707, the work was for a long time known as "Il trionfo del Tempo e del Disinganno" ("The Triumph of Time and Enlightenment"). In keeping with the Halle Handel Edition, however, the title is that of the name given in the primary source.
In many cases inspired by the melodically rich ideas of Reinhard Keiser (1674-1739), the work is unsurpassed by any other oratorio by Handel. At the end of an impressive sequence of truly captivating arias, duets and quartets, Bellezza's reformation in favour of living a life pleasing to God is accompanied in incisive E major by her overwhelmingly beautiful, impossibly sad closing aria "Tu del ciel ministro eletto", the consummate pinnacle of dramatic irony in Handel's output.
By virtue of its flawless dramatic structure as well - unlike many other oratorios and all operas of the Baroque period, the story never goes off at a tangent and all arias revolve around the dispute of the four dramatic personae - the oratorio has enjoyed long runs of widely acclaimed, mostly staged performances in the last few years. |
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 | Gluck's music to the Favartian comedy in print for the first time
Incidental music: an exception in Gluck's oeuvre
Includes detailed introduction, Critical Report and facsimile illustrations |
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| Gluck, Christoph Willibald | | Music to "Soliman second, ou Les Trois Sultanes" | Christoph Willibald Gluck. Complete Works IV/4
Editor: Shein, Yuliya | | BA 5823-01 | EUR 116.00 | 9790006567447 | | Reduced subscription price available | The critical edition presents the music to the verse comedy "Soliman second, ou Les Trois Sultanes" by Charles-Simon Favart (1710-1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg by the French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck's music to the Favartian comedy has appeared in print.
A popular comedy which in particular was known for its exotic colour, "Soliman second" quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As "Direttore della Musica" at Vienna's Burgtheater and an accomplished writer of French operas-comiques, Gluck may have been commissioned to compose the vocal numbers - four solo airs and a duet - which were meant to be performed in the comedy. As far as can be established, Gluck's involvement in incidental music is an exception in his artistic output.
In addition to the detailed introduction on the history of the work, the volume contains the Critical Report providing exhaustive information on the source material, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile. |
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 | Preface (Eng/Cz) and critical report (Eng/Cz) by the editor
New findings about the genesis of both works
Evaluation of early performance practice |
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| Martinu, Bohuslav | | Incantation. Concerto for Piano and Orchestra No. 4 H 358 / Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366 | The Bohuslav Martinu Complete Edition III/1/5
Editor: Tabak, Ivana Kalina | | BA 10579-01 | EUR 350.00 | 9790260109063 | | Reduced subscription price available | "Incantation" (1956), Bohuslav Martinu's fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu's friend Rudolf Firkusny, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, "Concerto in B-flat major for Piano and Orchestra", known under the name "Fantasia Concertante", was to be Martinu's very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work.
The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer's own modifications. The edition presents numerous new findings about the genesis of both works. |
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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 · Jetter@baerenreiter.com · Fax +49 (0)561 3105310
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