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Jeux d'eau for Piano

Jeux d'eau for Piano

It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword,atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud.

DKK 137.00
1

L'incoronazione Di Poppea : Opera Regia With A Prologue and Three Acts

L'incoronazione Di Poppea : Opera Regia With A Prologue and Three Acts

Drawing on the definitive scholarly-critical edition by Hendrik Schulze et al., the renowned conductor, harpsichordist and organist Jörg Halubek has joined forces with students from the State University of Music and Performing Arts Stuttgart to present a historically informed piano reduction of Claudio Monteverdi’s exciting final opera, “L’incoronazione di Poppea”.The vocal score contains all the appendices found in the full score and includes an uncluttered piano reduction that lies well on the instrument. Rounding off the edition is a detailed musicological Foreword (Ger/Eng) by Emily Hagen providing information on the work’s genesis, the history of its performance andreception. In addition there is a Foreword on performance practice by early music specialist Jörg Halubek.

DKK 421.00
1

Flute Concerto In D K.314 : D major

Flute Concerto In D K.314 : D major

Concerto For Flute And Orchestra D major K. 314 (285d).Flute Solo, Oboe (2), Horn (2), Strings. Flute & Piano reduction. The New Mozart Edition offers researchers a musicologicallyunimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. BÄRENREITER URTEXT: Inthe international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors whichincludeprominent musicologists as well as musicians take all available sources into account, thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter,“Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research, enabling musicians toget as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions, and the quality of the musical text is matched by an appearance on the page that satisfies the mostdiscerning eye.

DKK 222.00
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Piano Concerto No.17 In G K.453

Piano Concerto No.17 In G K.453

Piano Concerto No.17 in G major K.453.Piano Solo, Flute, Oboe (2), Bassoon (2), Horn (2), Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all theavailable sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world “BärenreiterUrtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take allavailablesources into account, thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter, “Urtext” is more than just a label it is also a pledge and a guarantee forsheet music performing editions that present the authentic text and the latest findings of scholarly research, enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are noarbitrary editorial additions, and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

DKK 239.00
1

Sonata in F major op. 17 : for Pianoforte and Horn or Violoncello

Sonata in F major op. 17 : for Pianoforte and Horn or Violoncello

Beethoven wrote his Horn Sonata op. 17 for Johann Wenzel, one of the most famous horn players of his day. According to an anecdote from Beethoven's pupil Ferdinand Ries, he only completed it on the day before the première. Nevertheless, the piece was a rousing success.As the horn part demands a masterly technique, the publisher of the first print, Tranquillo Mollo et Comp., issued the piece in 1801 with an alternative part for violoncello. Since the autograph score has not survived, Jonathan Del Mar has based his scholarly-critical edition mainly on this first print.Misha Donat provides an informative Foreword on the work’s history and genesis (Eng/Ger) and theedition is rounded off by a Critical Commentary (Eng) with a complete description of the sources as well as a page in facsimile.

DKK 209.00
1

Piano Concerto No.25 In C K.503

Piano Concerto No.25 In C K.503

Piano Concerto No.25 in C major K.503.Piano Solo, Flute, Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. 2-Piano reduction. The New Mozart Edition offers researchers amusicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. BÄRENREITERURTEXT: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria.Editorswhich include prominent musicologists as well as musicians take all available sources into account, thus guaranteeing an authentic musical text which represents the latest in musicological research. ForBärenreiter, “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research,enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions, and the quality of the musical text is matched by an appearance on the pagethat satisfies the most discerning eye.

DKK 251.00
1

Three Sonates For Pianoforte : WoO 47 Kurfürsten Sonatas

Three Sonates For Pianoforte : WoO 47 Kurfürsten Sonatas

These pieces, known as the Kurfürsten Sonatas, were composed in 1783 with a dedication to the Archbishop and Elector (Kurfürst) of Cologne, Maximilian Friedrich, while Beethoven was still studying with Christian Gottlob Neefein Bonn. “He will certainly become a second Wolfgang Amadeus Mozart, if he progresses as he started off“, Neefe wrote enthusiastically in the same year.Announced as an “excellent composition by a young genius of elevenyears”, these three impressive and technically challenging sonatas are still fully beholden to the style of C. P. E. Bach and the Mannheim School. For students, they offer an ideal introduction to the early classicalsonatarepertoire and train brilliance in piano technique.Scholarly-critical Urtext edition at the cutting edge of scholarshipSpacious engraving with practical page turnsIdeal introduction to thesonata repertoireInformative Introduction (Eng/Ger)Valuable notes on period performance practice (Eng/Ger)

DKK 179.00
1

Piano Sonatas III : The Late Sonatas

Piano Sonatas III : The Late Sonatas

Volume III of Schubert’s Piano Sonatas includes the tuneful, dance-like Sonata in G major D 894 (1827), sometimes called the “Fantasie” sonata, as well as the three great sonatas in C minor, A major and B-flat major (D 958, 959 and 960), which were conceived as a triptych and constitute the composer’s greatest contribution to the piano sonata genre. The works pay homage to the three late sonatas of Beethoven. This scholarly-critical Urtext edition is based on the definitive musical text of the “New Schubert Edition” and presents the works in a spacious new engraving with practical page turns. It includes an informative Foreword and detailed notes (Ger/Eng) on central performance practice issues such as the use of pedals and Schubert’s distinctive manner of notating accents. It is rounded off by a Critical Commentary (Eng) with performance-related alternative readings. Schubert’s drafts for individual sonata movements can be accessed on the Bärenreiter website.

DKK 358.00
1

Jephta HWV 70

Jephta HWV 70

Jephtha is Handel’s last oratorio. Handel had to break off from composing several times because of his increasing blindness in 1751. The first performance at the Covent Garden Theatre in February 1752 was thelast performance he conducted before he went completely blind. In Jephtha, Handel succeeded in achieving the perfect fusion between a biblical plot and the spirit of classical tragedy. With greatintensity and dramatic expression he highlighted in particular the fates of Jephtha and Iphis, thereby portraying convincing and complex characters. The chorus How Dark, O Lord, are Thy Decrees at the end ofparttwo is of crucial importance in the work and is regarded as the dramatic high point of the oratorio. The vocal score is based on volume I/30 of the Halle Handel Edition (BA 4014), which contains the completecritical version of the music of the oratorio for the first time. It contains a detailed foreword in German and English, and a clear straightforward Piano reduction.

DKK 245.00
1

Pieces De Clavin : Second Livre Für Cembalo

Pieces De Clavin : Second Livre Für Cembalo

Edited by Denis HerlinWith notes on performance practiceOnce again the French musicologist Denis Herlin, who mastered the harpsichord under the tutelage of such keyboard legends as Kenneth Gilbert and HuguetteDreyfus, has presented an exemplary edition of a classic from the harpsichord repertoire.’Bärenreiter presents Book II of Couperin’s “Pièces de clavecin”, first published in 1717. In addition the eight preludes and oneallemande from his treatise “L’Art de toucher le clavecin” are included in the appendix. For the first time Denis Herlin has evaluated the many later impressions of the original print, most of which he unearthed himselfininternational libraries. By preserving the essential features of the original print while largely dispensing with disruptive page-turns within the pieces, the volume brings modern performers close to the special sound of thismusic. Rounding off this pioneering new edition are an extensive Foreword, notes on historical performance practice, a comprehensive glossary, facsimile pages and a detailed Critical Commentary.Pioneering editionwith the first-time evaluation of an extensive body of sourcesIncludes Couperin’s original expression markswith 8 Préludes and 1 Allemande from 'L'Art de toucher le clavecin' (1716 1717)

DKK 507.00
1

Piano Sonata In G Op.78 D 894 : G Major Op. 78 D 894

Piano Sonata In G Op.78 D 894 : G Major Op. 78 D 894

Schubert’s tuneful and buoyant Sonata in G major was published in April 1827 as a “Fantasy or Sonata”, to quote the heading of its first movement. His first reviewer noted that “the beloved and talented Lieder composer haspresented the music world with a fantasy in which he lets his inventiveness loose. He presents the pianist with a harmonic indulgence without however amassing too many difficulties to complicate the execution”.Ourscholarly-critical Urtext edition, based on the definitive New Schubert Edition, presents the sonata in a spacious new engraving with practical page turns. The work is introduced by an updated Foreword (Ger/Eng) and detailednoteson key questions of performance practice, e.g. pedalling and Schubert’s characteristic way of writing accents. Rounding off the edition is a Critical Commentary (Eng) containing alternative readings of relevance to the performer. Schubert’s rejected initial version of the second movement can be accessed via the Barenreiter website.- Scholarly-critical Urtext editions based on the New Schubert Edition- Spacious new engravings with practicalpage turns- Detailed notes on historical performance practice (Ger/Eng)- Updated Forewords (Ger/Eng) and Critical Commentaries (Eng)- Schubert’s rejected versions of individual movements accessible online

DKK 158.00
1

La Bellezza ravveduta : nel trionfo del Tempo e del Disinganno HWV 46a (Oratorio in two parts)

La Bellezza ravveduta : nel trionfo del Tempo e del Disinganno HWV 46a (Oratorio in two parts)

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 atthe 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 HandelEdition, 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 theend 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 sadclosing 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.

DKK 2608.00
1

Sonata for Pianoforte in E major op. 109

Sonata for Pianoforte in E major op. 109

Beethoven’s final three piano sonatas have always been a source of great fascination. Composed in 1820, the Sonata op. 109 opened the door to the future with its extreme expressivity, its abandonment of traditional techniques and its radical departure from familiar aesthetic norms. Beethoven specialist Jonathan Del Mar has competently solved the questions raised by the highly complex source material of this work headed “Sonata for the Hammerklavier” in the autograph score. The result is a reliable musical text and a Critical Commentary explaining alternative readings and editorial decisions. In addition to a reader-friendly engraving and practical page-turns, the edition is roundedoff with an informative Introduction and valuable notes on historical performance practice. Beethoven’s final three piano sonatas have always been a source of great fascination. Composed in 1820, the Sonata op. 109 opened the door to the future with its extreme expressivity, its abandonment of traditional techniques and its radical departure from familiar aesthetic norms.Beethoven specialist Jonathan Del Mar has competently solved the questions raised by the highly complex source material of this work headed “Sonata for the Hammerklavier” in the autograph score. The result is a reliable musical text and a Critical Commentary explaining alternative readings and editorial decisions.In addition to a reader-friendly engraving and practicalpage-turns, the edition is rounded off with an informative Introduction and valuable notes on historical performance practice.

DKK 132.00
1