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Bernstein. West Side Story

Keyboard Arrangements of Works by Other Composers - Bach, Johann Sebastian

Five concertos based on works by Vivaldi and others / Two sonatas and fugue based on works by Reinken Performance score, Anthology, Urtext edition harpisc./piano Hæftet udgave

Brandenburg Concerto No.5 In D Major BWV 1050

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the 'Early Version' BWV 1050a.The six Brandenburg ConcertosBWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach’s appointment in Cöthen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ not only withregard to articulation but also at times different tones, different rhythms, instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility to playtheseearlier versions perhaps even along side the version known today.

Brandenburg Concerto No.5 In D Major BWV 1050

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six BrandenburgConcertos BWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach’s appointment in Cöthen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ notonly with regard to articulation but also at times different tones, different rhythms, instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibilitytoplay these earlier versions perhaps even along side the version known today.

Brandenburg Concerto No.4 In G, BWV 1049

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G BWV 1049.The six Brandenburg Concertos BWV 1046-1051, prized jewels of the world's musicalheritage, were written in 1721 during Bach’s appointment in Cöthen.Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also attimes different tones, different rhythms, instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlierversionsperhaps even along side the version known today.

Brandenburg Concerto No.4 In G, BWV 1049

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G BWV 1049.The six Brandenburg Concertos BWV 1046-1051, prized jewels of the world's musicalheritage, were written in 1721 during Bach’s appointment in Cöthen.Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also attimes different tones, different rhythms, instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlierversionsperhaps even along side the version known today.

Brandenburg Concerto No.5 In D Major BWV 1050

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six BrandenburgConcertos BWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach’s appointment in Cöthen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ notonly with regard to articulation but also at times different tones, different rhythms, instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibilitytoplay these earlier versions perhaps even along side the version known today.

Brandenburg Concerto No.5 In D Major BWV 1050

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six BrandenburgConcertos BWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach’s appointment in Cöthen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ notonly with regard to articulation but also at times different tones, different rhythms, instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibilitytoplay these earlier versions perhaps even along side the version known today.

Brandenburg Concerto No.5 In D Major BWV 1050

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six BrandenburgConcertos BWV 1046-1051, prized jewels of the world's musical heritage, were written in 1721 during Bach’s appointment in Cöthen. Of the six works, Bach originally wrote earlier versions of numbers 1 and 5 which differ notonly with regard to articulation but also at times different tones, different rhythms, instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibilitytoplay these earlier versions perhaps even along side the version known today.

Organ Preludes by old masters in all keys -

32 Preludes, Preambles, Toccatas, by J. S. Bach, Handel, J. K. F. Fischer, Frescobaldi and other masters Performance score, Anthology Org Hæftet udgave

Keyboard Arrangements of Works by Other Composers - Bach, Johann Sebastian

Seven concertos based on works by Vivaldi and others Performance score, Anthology harpisc./piano Hæftet udgave

6 Moravian Duets Arranged By Leos Janacek

Moravian Duets, a popular composition that was originally intended for home music-making, won young Dvorak a scholarship and relieved him of financial worries; after the composition was published bySimrock, it also launched Dvorak's international career.Shortly after their publication, Leos Janacek arranged six duets from Op. 29 and Op. 32 for four-part mixed choir using Dvorak's Pianoaccompaniment. Janacek thus extended the choral repertoire by adding six highly rewarding pieces which are included in this edition.The basis for this edition is Janacek's choral score published in 1939byJosef Plavec. The Piano part, Czech text and German translation by Kurt Honolka were taken, without any changes, from the Complete Critical Edition of Works by Antonin Dvorak.

Songs on Texts by Johann Wolfgang von Goethe

The Czech composer Zdenek Fibich (1850–1900) had a keen interest in classical German literature. It therefore comes as no surprise that he had already set songs to texts by Johann Wolfgang von Goethe while still a student at the Leipzig Conservatory. Between 1865 and 1871 he composed 16 songs on texts by this famous German author for voice and piano. Ten of them have survived: the song “An den Mond”, dating from 1869, and nine further songs from Goethe’s novel “Wilhelm Meisters Lehrjahre” were composed immediately after Fibich’s return to Prague in 1871. All ten now appear here in a single-volume Urtext edition edited by Barbora Kubecková.

Concerto In G Major For Clarinet : In an arrangement by A. E. Müller after the Clarinet Concerto K. 622

About Concerto in G major for Flute and Orchestra (1801)In an arrangement by A. E. Muller after the Clarinet Concerto K. 622. By Wolfgang Amadeus Mozart. Edited by Christopher Hogwood. For Flute Solo, Oboe (2), Bassoon (2),Horn (2), Strings. Piano Reduction/Vocal Score; Single Part. KV 622. Duration 24'. Published by Baerenreiter-Ausgaben (German import). (BA5335 90)

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.

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.

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.

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.

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.

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.

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.

Abendröte : Eleven Lieder On Texts By Friedrich Schlegel

Eleven Lieder on texts by Friedrich Schlegel for high voice and pianoWith their very accessible style and expressive interpretation of the words, these contemporary works continue in the tradition of classical andromantic song cycles and will f

Osud - Fate : Three novel-like scenes by Fedora Bartosova

First critical edition of this Opera.Foreword on the genesis of the work and its reception by Ji Zahrádka (Cz/Eng/Ger).New straightforward Piano reduction by Rasmus Baumann.Performance material availableon hire. Janá ek’s Opera Osud is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on athorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janá ek in which all revisions are marked. Further sources include a manuscript copy of the vocal score togetherwiththe orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the Complete Critical Edition of the Works of Leoš Janá ek.

An Die Entfernte : Seven Lieder After Poems By Johann Wolfgang Von Goethe

Seven lieder for high voice and piano after poems by Johann Wolfgang von GoetheWith their very accessible style and expressive interpretation of the words, these contemporary works continue in the tradition of classicaland romantic song cycles

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.