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Vierzig Variationen Für Violine Op. 3

Vierzig Variationen Für Violine Op. 3

Otakar Ševcik’s single-volume Forty Variations for the Violin occupies a special position in his extensive oeuvre of teaching material. Here he follows up on his systematic “step by step” work for the right hand, which hecovered in detail in his previous Op.2.Nonetheless, this volume can be used as a self-contained unit, enlivening the violinist’s daily regimen and offering a concise and highly effective method for mastering the right hand,from elementary exercises to virtuoso technique.The editor, Pavel Kudelásek, is a teacher at the Prague Conservatory.New edition of another Ševc k opus for training the right handA follow-up to SchoolofBowing Technique Op.2Foreword by the editor (Cz/Eng/Ger)Medium to high level of difficulty

DKK 107.00
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Duett Für Oboe und Englisch Horn

Duett Für Oboe und Englisch Horn

“At the request of the work's commissioner, Heinz Holliger, this duet has very few passages that call for 'unconventional' performance techniques. In exchange, it exploits the many musical possibilities opened up by twoinstruments with closely related timbres: wide-ranging antitheses and commonalities of expression and movement, cantabile duets, convergences in unisons, octaves and fifths.” (Rudolf Kelterborn)Challenging concertpieceInteresting combination of instrumentsUse of new performance techniques

DKK 383.00
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Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 69.00
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Ubi caritas et amor : Antiphon for the Washing of the Feet on Holy Thursday

Ubi caritas et amor : Antiphon for the Washing of the Feet on Holy Thursday

Ubi caritas et amorAntiphon for the Washing of the Feet on Holy ThursdayIn memoriam Johannis XXIII - Mixed choir (SSATTB) Petr Eben (1929 - 2007) is among the best known Czechcomposers. He grew up in Southern Bohemia learning to play both the Piano and the Organ and later studied Piano and composition at the Prague Academy of Music. His popularity extends well beyond his native country and his worksare frequently performed.

DKK 128.00
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Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 124.00
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Zwölf Geistliche Gesänge

Zwölf Geistliche Gesänge

In his role as Kapellmeister to the Dresden court Heinrich Schütz composed 'Zwölf Geistliche Gesänge' for the Saxon court church. Six of them belong to the liturgy of the 'German Mass'. They can be sungindividually as well as in their entirety, today as well as then, even by 'small cantors' - as Schütz wanted it to be 'to the honour of God'.This selection of 12 motets for four-part mixed chorus (SATB) opens up theseworks to the field of practical music making.

DKK 192.00
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Sursum Chordis Corda For Piano Op. 81a

Sursum Chordis Corda For Piano Op. 81a

Composer Daniel Schlee wrote about his piano piece “Sursum chordis corda”: “The third movement of my Second Symphony is titled “Sursum corda” – a liturgical call to lift up our hearts. This call is answered by joyfully flowing music. The piano version is neither a particella nor an intabulation in the traditional sense; it adapts the essential elements of the musical process, partially reinterpreting them to suit the wealth of possibilities the piano offers in terms of sound and technique. The scope of the work ranges from the impetus of emphatic chord progressions and carillon-like passages through to lyrical phrases.”

DKK 273.00
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Silberklänge Für die Silbermann-Orgel : In Der St. Georgenkirche Rötha

Silberklänge Für die Silbermann-Orgel : In Der St. Georgenkirche Rötha

The composition “Silberklänge” was commissioned for the 2020 International Johann Sebastian Bach Competition in Leipzig. The composer noted: “During my first visit to the Georgenkirche in Rötha, I was impressed by the immensely vibrant and noble sounds of the historic Silbermann organ (1721), the endless variety of possible timbre combinations, the stellar acoustics of the church, and the historic atmosphere, which shaped and tamed my musical thoughts, transporting me into my very own ‘baroque’ world.” This edition contains registration marks that reflect the soundscape the composer intended to achieve with this particular organ. Performing the work on an organ with differentregistration possibilities will open up a new spectrum of possible timbres.

DKK 273.00
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Regina coeli in C major K.108

Regina coeli in C major K.108

In its expression and structure, the “Regina coeli” K.108 (74d) in four movements, composed in Salzburg in May 1771, clearly shows that Neapolitan church music served as Mozart’s model. The two outer movements, in which aprimarily homophonic chorus unfolds against a rich orchestral backdrop, enclose two soprano arias sparkling with coloraturas, of which the first aria has a choral epilogue at the end of each of its two sections. Appositely, thelast movement also picks up the solo-tutti contrast which, in addition, underscores the predominant role of the solo soprano characteristic of the entire composition.Urtext of the New Mozart EditionFull score&performance material (BA4886) and vocal score (BA4886-90) for sale

DKK 124.00
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Missa in C minor K.139

Missa in C minor K.139

Mozart had barely turned twelve when he composed and conducted his Missa solemnis in C minor, K.139, to inaugurate a new orphanage on Vienna’s Rennweg in 1768.This astonishing early work adheres to the form of aNeapolitan cantata mass, in which the separate movements (“Gloria”, “Credo” etc.) are themselves made up of self-contained choruses, ariosos and ensembles.This frequently heard Mass is characterized by a sharp contrastbetween its cheerful underlying C major mood and gloomy dramatic passages in the minor mode.Urtext of the New Mozart EditionStraightforward piano part in the vocal scoreIdeal for church servicesandconcert performances Full score & performance material (BA4858) and vocal score (BA4858-90) available for saleArrangement for soloists, choir & organ (BA7521) for sale

DKK 205.00
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Two Rhapsodies For Piano Op. 79 : Op. 79

Two Rhapsodies For Piano Op. 79 : Op. 79

Brahms’ vivacious “Rhapsodies” op. 79 of 1879 are among his most frequently played works. He had a hard time finding a suitable title for them, vacillating between “Piano Piece”, “Capriccio” (No. 1) and ”Caprices”. His hand wasforced by the dedicatee Elisabeth von Herzogenberg, who welcomed the pieces with the salutation “Ye (to me) nameless ones in the nebulous garb of rhapsodies”.Now Brahms expert Christian Köhn is presenting these popularpieces in an up-to-date new edition that remains faithful to the sources and reflects the latest findings of Brahms scholarship. In addition to the informative Preface the edition offers enlightening details regardingperformancepractice of Brahms' day. With a reader-friendly engraving, comfortable page turns including a fold-out page and fingering where required, the edition meets all the needs of today’s performers.

DKK 141.00
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Missa In C Major K.259

Missa In C Major K.259

The Mass K.259, known as the Organ Solo Mass on account of an important organ passage in the Benedictus, will have been written around 1775/76. On l7th May 1778, the Prince-Archbishop Colloredo consecrated his cousin AntonTheodor Count Colloredo-Mels und Wallsee, Archbishop of Olmütz. The Prince of the Church had not commissioned a Mass for the consecration and had left the choice up to Leopold Mozart, who assumed the office as Kapellmeister inthat week. Leopold reported on this to his wife and son in Paris on 28th May 1778: 'l did the one of Wolfg [sic]: Mass with the organ solo: but the kyrie from the Spaur Mass; had it written and duly got the 6ducats.Urtextof the “New Mozart Edition”Ideal for church services and concert performances Full score & performance material (BA4852) and vocal score (BA4852-90) for sale

DKK 128.00
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Danse macabre op. 40 : Transcription for Violin and Piano by the Composer

Danse macabre op. 40 : Transcription for Violin and Piano by the Composer

In his symphonic poem “Danse macabre” Saint-Saëns takes up a poem by Henri Cazalis that he had already set as an art song. Here the Devil brings the dead to life by playing his violin. Although the orchestral work was given alukewarm reception in its early performances, or was even rejected, it became highly popular and internationally famous in the years that followed. Of the countless later arrangements and variations (e.g. by Franz Liszt),Saint-Saëns’ own version for violin and piano stands out as particularly successful.Céline Drèze’s advance edition for a future volume of the “Saint-Saëns Complete Edition of the Instrumental Works” is the first modernscholarly edition of this celebrated piece. This Urtext edition draws on the original print of the 1877 version, while eliminating its many misprints and anomalies on the basis of the autograph.

DKK 188.00
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Symphony No.8 In G Op.88 (Full Score) : In G Major

Symphony No.8 In G Op.88 (Full Score) : In G Major

The performance material available up till now for Dvorák’s sun-filled cheerful Symphony No.8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. Hehas taken into account the engraver’s copy, which was actually discovered in a rubbish bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in Dvorák’s hand. This source proves that many ofthe readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen.This new edition with score and orchestral parts in an enlarged format is accompanied byadetailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings.Score and orchestral parts in an enlargedformatInformative Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readingsWith facsimile pages

DKK 702.00
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Parsifal : Autograph: National Archive of the Richard Wagner Foundation Bayreuth

Parsifal : Autograph: National Archive of the Richard Wagner Foundation Bayreuth

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 itscompositional 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 inviolet 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 aguarded 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 bibliophileappearance.In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript.

DKK 7166.00
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Missa Brevis In G Major K.49

Missa Brevis In G Major K.49

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” havebeen added by two other unidentified, eighteenth-century hands. Mozart’s handwriting and the paper quality appear to verify this information. Moreover, Mozart sketched the draft of the Gloria (measures 1 to 18) on apiece of paper, the reverse side of which his father had used, undoubtedly before that, for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composedbyWolfgang up to 1768, “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices, 2 violins, etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister.Although the obbligato viola is not mentioned there, this comnposition is surely the Mass K.49. - Urtext of the New Mozart Edition - Full score, performance material (BA4769) and vocal score (BA4769-90) available forsale.

DKK 149.00
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String Quartet No.6 H.312 - Study Score

String Quartet No.6 H.312 - Study Score

An informative preface and critical commentary by Ales Brezina and Ivan Straus (Cz / Ger / Engl / Fr) - A new, practical edition at the forefront of Martinu scholarship - All existing sources consulted.The StringQuartet no. 6 by Bohuslav Martinu (1890-1959) represents a distinct step on the journey which the composer characterised as his development from geometry to fantasy and for which the almost continuous use of theprinciple of developing variations, restless harmonic development, the pulsation of minute rhythmic values and inventive work with sound are characteristic.The quartet, which was written in New York in the autumn of1946,constitutes the beginning of the composer's later works, in which moods freely overflow regardless of any predefined formal layout. The editors of the new edition (based on the composer's autograph) have carefully removed allof the problematic and somewhat arbitrary editorial intervention in the sole existing edition dating from 1950 (actually 1955).With its urtext edition of the 6th quartet, Editio Bareneriter Praha has continued in itsseries of new publications of works by Bohuslav Martinu - quartets nos. 4 and 5 have already been published for this instrumental line-up.

DKK 294.00
1

Concerto For Piano, Violin And Violoncello In C

Concerto For Piano, Violin And Violoncello In C

In Beethoven’s Triple Concerto, a piano trio provides the soloists a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra,but varies his treatment of the solo parts, allowing each instrument to play alone with the orchestra (particularly the cello), using two solo instruments together in ever new combinations, and finally bringing together all threeinstruments with the orchestra. Beethoven weaves a complex web the orchestral, piano, violin and cello voices interplaying and entwining and he produces a true masterpiece. Bärenreiter’s new Urtext edition ofBeethoven’sTriple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions, but with the assistance of three newly-discovered sources, editor Jonathan Del Mar has cleaned up thetext, corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven’s day might have recognized, with all necessary information for directing the piece included inthe solo piano part. Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

DKK 438.00
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Symphony In C Major Hob. I:60 : Il Distratto

Symphony In C Major Hob. I:60 : Il Distratto

The six movements of Joseph Haydn’s Symphony No. 60 “Il Distratto” once served as incidental music for the comedy “Le Distrait” by Jean-François Regnard (1655–1709), which was performed at the Esterházy court in 1772. This consisted of an overture, four entr’actes – the play is in five acts – and a finale. But this composition is not merely a compilation of stage music: Haydn referred to it in letters as a symphony. As a “character symphony”, it takes up the subject of the play – human absentmindedness – which is expressed in music. The minuet and trio of the symphony, with their stylistic diversity (or rather lack of plan), “portray the musicians in great disarray” as a reviewer stated in the Pressburger Zeitung of 27 January 1776. He also wrote, “One must laugh out loud at the thought of it” concerning the final movement, in which the violins unexpectedly begin to tune their instruments after a few opening measures. These and other compositional effects make the symphony a prime example of Haydn’s musical humour and ingenuity. In continuation of the cooperation between Bärenreiter and G. Henle Verlag regarding Haydn’s large-scale choral works, operas and symphonies, these editions are based on G. Henle Verlag’s complete edition “Works of Joseph Haydn”.

DKK 370.00
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
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