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Arrangements Of Works By Gluck

Cantatas on texts by Miloslav Bures - Martinu, Bohuslav

complete edition, score, Anthology, Urtext edition Soli/Ch/(Instr) Indbundet udgave

Arrangements of Works by other Composers - Bach, Johann Sebastian

complete edition, Performance score, Urtext edition, Anthology piano/harpisc. Indbundet udgave

Santa Maria dell' Anima: Musik für die Feste der deutschen Nationalkirche in Rom - Bencini, Pietro Paolo / Jommelli, Niccolò

Works by Pietro Paolo Bencini and Nicollò Jommelli edition of selected works, score, Urtext edition, Anthology Voc./Instr Indbundet udgave

Symphony No. 7 D Minor Op. 70

Dvorák’s Symphony No. 7 was commissioned by the “Royal Philharmonic Society” in August 1883 and received its premiere on 22 April 1885 in London conducted by the composer himself. The following June the second movement wasshortened by some 40 bars and the work was published in this form in 1885 by Simrock.The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorák’scello concerto in B minor (BA 9045), not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in theappendixas well as in the performing material.This new Bärenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. First Urtext edition of this important workContains theoriginal London version of the second movementIncludes a foreword (Cz/Eng/Ger) and a critical commentary (Eng)

Works For Mixed Choir and Orchestra

This volume of “Œuvres complètes de Gabriel Fauré” contains Fauré’s four secular choral works in their orchestral arrangements, namely “Les Djinns”, “La Naissance de Vénus”, “Madrigal”, and “Pavane”. These works were composed between 1876 and 1887; thereafter Fauré wrote choral compositions based only on sacred texts. The first three works are presented here for the first time in a full score edition, previously having been published only in their versions with piano accompaniment. This edition is therefore the first to present the works with an authoritative musical text based on the careful study of the sources.“Les Djinns” (1876-76) for mixed choir and orchestrais based on the famous poem by Victor Hugo first published in the collection “Les Orientales”, while “La Naissance de Vénus” (1882) for soloists, choir and orchestra is based on a text by Paul Collin. “Madrigal”, the orchestral version of which cannot be dated with certainty (around 1891, for a quartet of soloists or choir) has been composed after a poem by Armand Silvestre, and the famous “Pavane”, originally composed for orchestra and only later supplemented with a text by Symbolist poet Robert de Montesquiou, is presented here in an elegant, graceful version with female choir.

Pagliacci : Masterpieces of Italian Opera

The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.

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.

Elverskud Op. 30 : Ballad On Danish Folk Legends

With “Elverskud” (“The Erl-Kings Daughter”), Gade presented his second “secular cantata for soloists, choir and orchestra”, the first having been his successful “Comala” Op. 12 (1845/46). The genre was quite popular among his contemporaries. This time, Gade planned to base the work on the text of a folk song. Originally, he had approached Hans Christian Andersen for a text but a collaboration did not materialize. The text Gade ultimately chose for his music was that of a ballad most likely penned by Emil Erslev and Gade himself. A German translation by Edmund Lobedanz was added at a later time.The composition, started in 1851 and finished in March of 1854, soon became aninternational success and one of Gade’s most-performed works. In 1864, the composer made a number of changes to the instrumentation. While the new version was subsequently used for all performances conducted by Gade, the changes were never incorporated into the printed edition of the score. This edition is the first to present this 1864 version.

Requiem K.626

Requiem K.626 The Requiem, completed by Franz Xaver Süssmayr, in its traditional form. Mozart’s final work, the Requiem K.626, was left incomplete and it is fraughtwith questions and emotions: the expressive depth of its music, sorrow at the great composer’s early death, truth and legend, fragments and attempts to complete the work. The completion of the fragmentary score by hisassistant Franz Xaver Süssmayr, who helped him with The Magic Flute, has the character of a historical source with utmost closeness to Mozart’s thoughts. - Urtext of the NewMozartEdition - Full score (BA4538-01), performance material (BA4538), vocal score (BA4538-90) and study score format 22.5 x 16.5cm (TP152) available for sale - Facsimile edition BVK2346

Field Mass H 279 : The Spectre's Bride H 214 I A

The present volume of the Bohuslav Martinu Complete Edition (BMCE) contains two vocal-instrumental works. The “Field Mass” (1939) with a text by Jirí Mucha incorporating bible and liturgy quotes was created in reaction to the outbreak of the Second World War and intended for outdoor performances. The cantata “The Spectre’s Bride” with a text by Karel Jaromír Erben was composed in 1932 as part of the ballet “Špalícek” (meaning “chapbook”): the composer later took out the cantata, making it into a stand-alone concert piece.The autograph scores served as primary sources for both works. The edition of the “Field Mass” (including its performance materials) also contains theoriginal version of the ending with a quote from the Czech medieval hymn “Jezu Kriste, štedry kneže” (“Jesu Christ, bountiful priest”) and a number of contemporary translations.

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.

Orlando HWV 31 : Opera In Three Acts

Premiered in London in 1733, Handel’s “magic opera” Orlando is based on a libretto by Carlo Sigismondo Capeci that derives indirectly from Ludovico Ariosto’s epic poem Orlandofurioso. This subject was very popular at the time and was frequently set to music, e.g. by Jean-Baptiste Lully, Agostino Steffani and Joseph Haydn. The title role of Orlando is the last one thatHandel wrote for the celebrated castrato Senesino. Several stunning stage effects intended to illustrate Zoroastro’s sorcery call for sophisticated baroque stage machinery.The vocal score has been adaptedandcarefully amended in keeping with the revision of the complete edition volume. The engraving and presentation of the former vocal score (BA 4027-90) have also been meticulously revised in many details. However the paginationstays the same so that both vocal scores are compatible with each other. A new Foreword in two languages (Eng/Ger) is also included in the edition.- Urtext edition based on the Halle Handel Edition- Fullscore (BA4087-01) & vocal score (BA4087-90) available for sale and performance material (BA4027-72) available for hire

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.

Medea [Linen Score + USB] : A Melodrama Interspersed With Music

Georg Anton Benda‘s melodrama „Medea“ (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda’s „Medea“ was at the center of many heated debates.

Alexander's Feast K.591 : Cantata in two parts

In 1736 Handel composed “Alexander’s Feast” or “The Power of Musick”, a two-part cantata based on John Dryden’s poem of the same name.In 1790, at the suggestion of Baron Gottfried van Swieten, Mozart arranged this workusing a German translation of the poem made by Karl Wilhelm Ramler in 1770. As in other arrangements of Handelian works, Mozart’s re-instrumentation leads to a change in the sound character of the work, placing the composition inthe tradition of the Viennese Classic.Urtext of the New Mozart EditionFull score (BA4527-01), vocal score (BA4527-90) available for salePerformance material available for hire (BA4527-72)

Motets and Hymns

Faure Motets and Hymns / Messe de l'Association des pêcheurs de Villerville N 60a / Messe basse N 163 / Christmas Song Arrangements This volume of Gabriel Fauré's sacred music is divided into three parts: besides the motets and hymns (17 works), it contains the two well-known harmonisations of French Christmas carols and the two masses, the “Messe basse” (Low mass) of 1907 and the “Messe de l'association des pêcheurs de Villerville”. Also published for the first time is the original 1881 version of the “Messe de pêcheurs”. The genesis of the “Messe de l'association des pêcheurs”, which was composed in Villerville (Normandy) in collaboration with Fauré’s friend André Messager, is the central theme of the introductory text. In addition, Helga Schauerte-Maubouet focuses on the relationship between the characteristics of the choir organ at the church of La Madeleine as well as the composition and performance practice aspects of the motets. A first in this edition is the inclusion of the double bass part in the scores of some of these works. Although this part does not consequently appear in the musical text of the first editions of these motets, it is substantiated by the autographs from the Madeleine church archives. Its integration makes it possible to restore the practice that was common in this church during Fauré’s lifetime. By means of many other details, the new readings of the complete edition finally offer a reliable musical text of jewels such as the “Cantique de Jean Racine”. Urtext edition from the Gabriel Fauré. Œuvres complètes I/4

Works For Male Choir - Equal Voices : Volume 2

With only one exception, Gade composed his works for male choir with accompaniment for Danish choral societies, numerous of which had been founded across the country since 1839. These societies were often closely connected with professional associations, making them equally important for musical and social matters.This volume contains five occasional works for male choir with accompaniment that were composed between around 1838 and 1883. Three of them were intended for church usage (two funerals and one wedding).Among the works for equal voices and accompaniment in this volume, “Aarstidsbilleder” op. 51 is the longest. It was composed for the women of The MusicSociety in Copenhagen and conducted by Gade himself during the 1871/72 seasons.The appendix contains works that were completed, but do not allow for definitive decisions regarding their final presentation.

Idomeneo K.366 with Ballet K.367 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas.Mozart's sevengreat operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression.Now Mozart scholars, libraries and lover's of Mozart's stage workshave the oppertunity to acquire these priceless manuscripts in flawless reproductions.All volumes include essays on the history of the work and introduction by leading Mozart scholars in EnglishandGermanConsolidation of Mozart manuscripts held in different placesHighest level of precision in reproduction and authenticity of colour through use of the latest technology'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristic appearance of Mozart's handwriting are unique'    - Kent Nagano (Conductor)

Le nozze di Figaro K.492 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique'     - Kent Nagano (Conductor)

Die Entfuhrung aus dem Seail K.384 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique'     - Kent Nagano (Conductor)

Cosi fan tutte K.588 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique'     - Kent Nagano (Conductor)

Symphony No.3 In C Minor Op.78 - Organ

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Symphony No.3 In C Minor Op.78

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78,dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. Inthis first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

Die Entführung Aus Dem Serail : German singspiel in three acts

“I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a newpath. [...] I think it would be a good thing for me provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him.”Thus Mozart in a letter of 1011 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meonany other terms, then let him try me with an opera. After that he can do what he likes for all I care.”Urtext of the New Mozart EditionFull score (BA4591-01), vocal score (BA4591-90) and studyscore format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)