| +++ Piano Music in Barenreiter Urtext Editions +++ |
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| Bärenreiter News – (July 2021) |
Dear musicians,
We are pleased to inform you that in the last few months our Urtext piano programme has been enriched by several new publications.
Not only are the complete Beethoven piano sonatas now available in scholarly-critical editions, but further new editions have also been published at the cutting edge of musicology.
Bärenreiter Urtext piano editions are by no means aimed only at specialists, but also offer pupils, students, teachers and music lovers a maximum of information that provides invaluable orientation in lessons and when studying alone.
Our editions set standards:
- Musicologically no stone is left unturned
- A reliable musical text as close as possible to the composer’s intentions
- An elegant uncluttered layout
- An optimum alignment between the flow of the music and spacing of notes on the page
- A well-presented engraving
- Page turns where you need them
- Superior print, paper and binding
See for yourself.
For a taster we recommend the Bärenreiter Piano Kaleidoscope (BA10900). This offers you a colourful mixture of pieces with different levels of difficulty and styles at an affordable price.
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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 | 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 for Piano in A minor WoO 59 "Fur Elise" | BARENREITER URTEXT
Performance score, Urtext edition | Editor(s): 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!
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 | One-of-a-kind Urtext edition of the complete Diabelli Variations
First Urtext edition of the „Fatherlandish Union of Artists“ Part II variations
Includes notes on performance practice of Viennese piano music during Beethoven's day (Ger/Eng)
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| Beethoven, Ludwig van | | 33 Variations on a Waltz for Piano op. 120 "Diabelli Variations" | BARENREITER URTEXT
Performance score, Urtext edition | Editor(s): Aschauer, Mario | | BA 9657 | EUR 11,95 | 9790006528158 | In December 1818, the Viennese music publisher Pietro Cappi announced the establishment of a new firm with his business partner Anton Diabelli named Cappi & Diabelli. The company developed a good nose for the taste of the day and quickly became one of the most influential music publishers in Biedermeier Vienna.
Early on in the enterprise Diabelli sent a 32-measure waltz which he had written himself to the most reputable composers of the Austrian Empire with the invitation to submit a set of variations which were to be published in a collaborative collection. We only know for sure of one composer who explicitly declined to collaborate: Beethoven.
It remains unclear why Beethoven did not want to participate in the contest. He nevertheless composed 33 variations, not directly for Diabelli, rather considering alternative avenues of publication. His „Diabelli Variations“ mark the pinnacle of his oeuvre for variations and next to Bach's „Goldberg Variations“ form one of the most important contributions to this genre.
In the Preface of this edition, the editor Mario Aschauer describes the very complex source situation. Discrepancies between the main sources are presented with ossias in light grey print. A detailed Critical Commentary (Eng) and notes regarding Viennese piano performance practice during Beethoven's day (Ger/Eng) complete this fine Urtext edition.
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 | One-of-a-kind Urtext edition of the complete Diabelli Variations
First Urtext edition of the „Fatherlandish Union of Artists“ Part II variations
Includes notes on performance practice of Viennese piano music during Beethoven's day (Ger/Eng)
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| Beethoven, Ludwig van / Czerny, Carl / Liszt, Franz / Moscheles, Ignaz / Schubert, Franz et al. | | Beethoven: 33 Variations on a Waltz op. 120 / 50 Variations on a Waltz composed by Vienna's Most Excellent Composers and Virtuosos for Piano "Diabelli Variations" | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Aschauer, Mario | | BA 9656 | EUR 27,95 | 9790006528141 | Beethoven's „Diabelli Variations“, written between 1819 and 1823, mark the pinnacle of his oeuvre for variations and next to Bach's „Goldberg Variations“ form one of the most important contributions to this genre. In addition to Beethoven, 50 other composers from Austria, mainly Vienna, followed Diabelli's call to create variations for his famous waltz, among them Czerny, Moscheles, Fr. X. Mozart, Schubert, the 11-year-old Liszt and J. N. Hummel.
The variations first printed by Diabelli fictively as „Fatherlandish Union of Artists Part I“ (Beethoven's op. 120) and „Part II“ (the 50 variations of Vienna's „most excellent composers and virtuosos“) are presented here by Mario Aschauer for the first time in one edition. Furthermore the variations of Part II appear in an Urtext edition for the first time. The musical text is based on a meticulous study of the sources and for the first time relevant discrepancies between the main sources are presented in light grey print.
A detailed Critical Commentary (Eng) and notes regarding Viennese piano performance practice during Beethoven's day complete this special Urtext edition based on the most current research.
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 | First scholarly-critical performance edition with reconstruction of the autograph transmission
For the first time two complete playable versions of the sonata
With surprising new insights into the form and source situation of the sonata as well as in-depth information on piano playing in Mozart's time (Ger / Eng)
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| Mozart, Wolfgang Amadeus | | Sonata for Piano in A major K. 331 (300i) | BARENREITER URTEXT
Performance score, Urtext edition | Editor(s): Aschauer, Mario | | BA 11816 | EUR 9,95 | 9790006574483 | | Introductory price valid until 04.10.2021. Price valid from 05.10.2021 is EUR 12.95 | Published in 1784, Mozart's Sonata in A major „for clavier solo“, with its famous „Alla Turca“ finale, is one of the most popular works in the entire piano literature. After a section of the lost autograph was rediscovered a few years ago, another important source has surfaced with the appearance of a previously unknown contemporary copy of the complete autograph, which has prompted Bärenreiter to update their previous Urtext edition of this celebrated piece.
The copy by a professional Viennese copyist throws new light on the problem of the numerous discrepancies between autographs and first editions of many Mozart sonatas. It supports the assumption that the revision of the text for the first edition resulted from the change of target group from Mozart's inner circle to an audience of connoisseurs and amateurs, but that this did not render the original (autograph) text obsolete; rather, both versions of the sonata represent historical realities.
To achieve a truly faithful scholarly-critical performance edition of Mozart's sonata, the editor, Mario Aschauer, has set new editorial standards and offers the most innovative methodological approach of our time by presenting the musical texts of the autograph and the original print separately without merging the sources editorially to a new text. On the basis of the newly discovered source, it is possible for the first time to reconstruct the autograph of this famous sonata and offer it to the performer as a self-contained playable version.
The preface allows surprising new insights into the form and source situation of the sonata (Ger / Eng). The edition is supplemented by a chapter on performance practice providing in-depth information on piano playing in Mozart's time (Ger / Eng). Variants and editorial decisions are documented in the Critical Commentary.
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 | Up-to-date Urtext edition on the cutting-edge of scholarship with new findings and readings
Fingering and in-depth notes on historical performance practice by Hardy Rittner (Ger/Eng)
Practical page turns (with fold-out page) and reader-friendly engraving
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| Chopin, Frédéric | | Barcarolle for Piano in F-sharp major op. 60 | BARENREITER URTEXT
Performance score, Urtext edition | Editor(s): Bitzan, Wendelin | | BA 11831 | EUR 8,95 | 9790006566105 | In 1845/46 Chopin composed his bel canto inspired „ Barcarolle“ in F-sharp major op. 60, which became a model for subsequent generations of composers.
In his evaluation of the divergent and partly even contradictory sources – due to the different engraving models (Stichvorlagen) for the first editions published almost simultaneously in Paris, London, and Leipzig – the editor obtains new results and readings, especially regarding problematic passages.
Chopin's pedal indications from the other sources, which differ from the main source, are added in small print. Information on this is provided in the Critical Commentary, which also documents the numerous variants of the sources and editorial decisions. An informative preface (Ger/Eng) discusses the genesis of the work and Chopin's specific understanding of the final shape of his works.
Hardy Rittner supplements Chopin's fingering from a historically informed perspective. He gives in-depth advice on central questions of performance practice (including cantilena style, rubato and pedal use) and discusses different interpretational approaches (Ger/Eng).
Practical page turns (with fold-out page) and a reader-friendly engraving round off this new edition.
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 | Evaluation of all available sources on the basis of the latest findings in Schumann scholarship
Notes on the historically informed performance of Schumann's piano music (Ger/Eng)
Clear and uncluttered engraving with practical page turns
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| Schumann, Robert | | Arabeske op. 18 / Blumenstuck op. 19 for Piano | BARENREITER URTEXT
Performance score, Urtext edition, Anthology | Editor(s): Stuwe, Holger M. | | BA 10865 | EUR 13,95 | 9790006559589 | Schumann's „Arabeske“ and „Blumenstuck“ were both composed while he was living in Vienna from October 1838 to April 1839, and are thus companions to such major piano pieces as the „Fantasy in C major“ (op. 17), the „Humoresque“ (op. 20) and the cycles „Nachtstucke“ (op. 23) and „Faschingsschwank aus Wien“ (op. 26). Unlike these masterpieces, they are more ingratiating, possibly as a concession to the Viennese public; but whether the „Arabeske“ is a „delicate piece for the ladies“, as Schumann once maintained, is open to debate.
For our new edition of these popular pieces the editor has re-evaluated the surviving sources, devoting special attention to the placement of slurs and incorporating the latest findings in Schumann scholarship. Rounding off the volume are a clear and uncluttered engraving, practical page turns and informative notes on historical performance practice by Sezir Seskir, a fortepiano specialist from Bucknell University (Lewisburg, PA) with a special interest in Schumann's pianism as well as 18th- and 19th-century performance practice.
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 | A selection of the easiest pieces from the Complete Edition
Piano literature from the Viennese Classic
Foreword by Christopher Hogwood and Ryan Mark (Eng/Cz/Ger)
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| Koželuch, Leopold | | Six Easy Sonatas for Piano | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 11565 | EUR 13,95 | 9790260109100 | Leopold Koželuch (also Koželuh) was among the leading musical figures of 18th-century Vienna, well-known in his day as an excellent pianist and piano teacher.
Six delightful sonatas have been selected from the complete edition of his piano sonatas published by Barenreiter – namely the easiest, as this album is specifically aimed at beginner and moderately advanced pianists. The edition includes Piano Sonatas No. 37 in G major, No. 47 in E-flat major, No. 7 in D major, No. 46 in C major, No. 10 in F major and No. 14 in G major, inviting pianists to explore the piano music of the Viennese Classic.
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| From 1 June onwards, the Complete Keyboard Sonatas by Leopold Kozeluch are reduced in price. |
 | First complete edition of the sonatas for keyboard
Suitable for professionals and amateurs alike
Ideal for teaching purposes
Detailed Foreword (Eng/Cz/Ger), Critical Commentary (Eng) and facsimile pages |
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| Koželuch, Leopold | | Complete Sonatas for Keyboard I-IV | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 9515 | EUR 125,00 | 9790260107908 | The composer, pianist and piano teacher Leopold Koželuch (1747-1818) was one of the leading Czech musicians in 18th-century Vienna. His 50 sonatas for keyboard bear witness not only to the transition from the harpsichord or clavichord to the pianoforte, but also to the evolution of the classical sonata at the turn of the 19th century.
Until now there have been few modern editions of this music. Our new edition, prepared by Christopher Hogwood, is the first to present all of Koželuch's sonatas for solo keyboard.
Each of the four volumes contains 12 to 13 sonatas in chronological order by date of initial publication.
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| Koželuch, Leopold | | Complete Sonatas for Keyboard I | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 9511 | EUR 34,95 | 9790260105010 |
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| Koželuch, Leopold | | Complete Sonatas for Keyboard II | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 9512 | EUR 37,95 | 9790260105027 |
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| Koželuch, Leopold | | Complete Sonatas for Keyboard III | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 9513 | EUR 37,95 | 9790260105034 |
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| Koželuch, Leopold | | Complete Sonatas for Keyboard IV | BARENREITER URTEXT
Performance score, Anthology, Urtext edition | Editor(s): Hogwood, Christopher | | BA 9514 | EUR 37,95 | 9790260105041 |
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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 Baerenreiter: Carolin Jetter · jetter@baerenreiter.com · Fax +49 (0)561 3105 310
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