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The Garden - memento - Pintscher, Matthias

for Countertenor, Percussion and Piano Uraufführung 04.02.2007, Stuttgart score SSolo/Perc/piano Hæftet udgave

The Secret Garden : Modern Piano Nocturnes

Bastien Und Bastienne K.50

Written by the 12 year old Mozart in 1768, Bastien und Bastienne is a one-act opera possibly commissioned by the Viennese inventor of the philosophy of mesmerism, Anton Mesmer. The premiere was inMesmer's garden theatre, probably not performed again until 1890 in Berlin. The libretto is based on Favart's 'Les amours de Bastien et Bastienne' which is itself a parody of Rousseau’s opera 'Le devin du village'.Urtext of the New Mozart Edition. Also available for sale, Vocal score (BA4570-90) and performance material for hire.

Samson HWV 57

Handel composed Samson directly after completing the 'Messiah'. After its premiere in 1743 in the Covent Garden Theatre in London, the work rapidly became one of the composer’s most successful oratorios alongside 'Esther' and'Judas Maccabaeus'. This probably had as much to do with the popular Old Testament story of the libretto as with Handel’s masterly shaping of the arias and choruses.By including some movements in the appendix, this editionmakes it possible for the first time to perform the work in its original 1741 version. The edition is based on the complete edition volume of the 'Halle Handel Edition' (BA 4099), offering the complete music text of theoratoriofor the first time. Scholarly-critical edition based on the Urtext of the 'Halle Handel Edition'Idiomatic piano reductionForeword (Ger/Eng

Fruhling im Garten : Vier Klavierkompositionen für Kinder

The set of four Piano pieces for children titled Jaro V Zahrade (Spring In The Garden), H. 125 by Bohuslav Martinu (1890-1959) is here published in a new edition.The composer's autograph ismissing today, and therefore the editor Ales Brezina (whose changes are indicated in the musical text with square brackets) limited himself to correcting several obvious errors. He has retained the fingering suggested by VilémKurz who prepared the first edition.Perhaps the most visible change from earlier editions is omission of the titles of individual pieces in the set, because it is very likely that they are not the invention of thecomposerbut rather were added later by the publisher or someone else.The Piano texture is simple and takes into consideration the instructive intention of the work, whose greatest attributes are its lyricism andplayfulness.Preface by the editor is published in four languages (Cz./Eng./Ger./Fr.).

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.

My Ladye Nevells Booke : Facsimile British Library MS Mus. 1591

One of the finest music manuscripts – for scholarly and practical useMy Ladye Nevells Booke is one of the finest musical manuscripts of the late 16th century. With its 42 compositions, itcomprises about a third of the keyboard music by William Byrd – including some of his most popular compositions such as the variations on “Sellinger’s Round” and “All in a Garden Green”.Byrd himself selected the pieces for this anthology and directed the work of copyist John Baldwin. The meticulous, small corrections, found on almost every page, were most probably written by Byrd himself. Thegrandcoat-of-arms at the beginning refers to Sir Henry Neville of Billingbear (Berkshire) and as such identifies his wife Elizabeth as the dedicatee.The manuscript did not become public property until 2006 when it waspurchased for the British Library. Now it is published in book form for the first time and gives the musician an impression of the richly decorated preserved original volume.In his commentary, Byrd specialist OliverNeighbour describes the genesis and history of the work. He also provides information on Byrd’s concept, the chosen repertoire and gives technical details on the notation.

Berenice, Regina d'Egitto HWV 38 : Operas in three acts

“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 dayslater 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 extendedaria 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 inFabio’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 whichHandel 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 andreception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report.

Ariodante HWV 33

Opera in 3 acts; Also available for sale full score (BA4079) and performance material for hire.'Ariodante” was the first work which Handel composed for the Theatre Royal in Covent Garden afterhis contract with the King’s Theatre, Haymarket ran out in mid-1734.“Ariodante” stands out amongst Handel’s opera works by means of its combination of excellent and challenging music coupled with afirst-class plot. There is probably no other Handel opera which contains such a wealth of striking and catchy arias as are found in the first act of “ Ariodante ” alone. The three wide-ranging arias composed forthecastrato Carestini are amongst the greatest bravura pieces.The plot is based on an episode in Ariosto’s epic “ Orlando furioso ” (1516). The central event of the drama, the trick with which Duke Polinesso convinces hiscommander Ariodante that Ginevra is unfaithful, was also used by Shakespeare in “Much Ado About Nothing”.The Vocal score is based on Donald Burrows’ 2007 Urtext edition in the “Halle Handel” Edition (Series II/32). Ittherefore reflects the latest in musicological research. Based on the Urtext of the Halle Handel EditionStraightforward and easy-to-play Piano reductionOriginal Italian text with German singingtranslation

Oreste HWV A11

Oreste HWV A11, Opera in three acts.Full score available for sale (BA4045), performance material available for hire.In 1734 Handel provided the pasticcio “Oreste” for histhird operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the workfrom favourite movements from his own and other composer's pieces as was usual at that time; rather in “Oreste” he presented a selection of the most beautiful arias and ensembles exclusively from his own operas.Inaddition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre.As most of the singers in his Italian company had been enticed away bythe competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect.Based onthe Urtext of the “Halle Handel” Edition.Original Italian text with singing German translation.Figured bass realisation and editorial additions in cue-sized notes.Detailed foreword (Ger/Eng).

In the Mists

Most of Czech composer Leoš Janá ek’s music for solo Piano was produced during the relatively short period between 1900 and 1912. This was a period in which Janá ek suffered the death of his second child, andhad to come to terms with multiple rejections from the Prague music scene, which denied the composer and his distinctive musical language the opportunity to participate in international musical developments until 1916, when hiswork finally managed to gain international recognition.In the Mists was composed during this period of great difficulty and despair in a house in the garden of the Brno Organ School, hidden from the eyesofthe world, with a broken self confidence and a mind in a state of melancholy.Influenced by Debussy’s impressionism, In the Mists is one of the most remarkable works in 20th-century Piano literature, saidto be 20 years ahead of its time. In the Bärenreiter Urtext edition Janá ek’s cycle is presented in the form that can be found in the Complete Critical Edition of the Works of Leoš Janá ek. A preface by Ji Zahrádka is also included in Czech, English and German.Because of the virtuoso nature of Janá ek’s work, it is more challenging and less accessible, but extremely rewarding when mastered.