| | Balanced selection of Dotzauer’s “easier” etudes
Musical text following the first editions with Dotzauer’s original fingering
With a foreword including information on performance practice (Eng/Ger) |
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| Dotzauer, Justus Johann Friedrich | Etudes for Violoncello solo
from op. 47, 107, 120, 126, 160 and "Méthode de violoncelle" | | Editor: Kennaway, George | | BA 12101 | EUR 24.95 | 9790006578764 | Friedrich Dotzauer (1783–1860) learnt several instruments during his childhood, but decided in favour of the cello as his main instrument, as "only the violoncello evoked the unforgettable soulful alto voice of his dear mother" (Art. "Dotzauer", Allgemeine Deutsche Biographie, 1877). He composed and published an extensive œuvre of etudes for the cello between 1829 and 1850 when he retired as court musician in Dresden.
For this first of three volumes, the British cellist and musicologist George Kennaway compiled thirty of Dotzauers "easier" etudes from the popular "18 Exercices d'une difficulté progressive" op. 120 as well as the collections op. 47, 107, 126, 160 and the "Méthode de violoncelle". In this selection, double stops, string crossings or the tenor clef are hardly used, the pieces rarely move beyond the fourth position and contain a mixture of fast and slow, often expressive exercises.
On the back of this new edition, cellist Johannes Raab has produced a very insightful video. | | | | |
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| | Urtext edition of one of Dvorák's outstanding string quartets
With a Foreword on the genesis of the quartet (Ger/Cz/Eng) and a Critical Commentary (Eng)
Includes a facsimile of twelve discarded measures of the Violin Sonata op. 57, which Dvorák used in the 2nd movement of the quartet
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| Dvorák, Antonín | | String Quartet no. 11 in C major op. 61 | BÄRENREITER URTEXT
Editor: Schick, Hartmut | | BA 11566 | EUR 18.95 | Set of parts | 9790260109445 | Replaces H 1791
Dvorák composed his ambitious String Quartet in C major op. 61 in the autumn of 1881. It was commissioned by Joseph Hellmesberger Sr., the concertmaster of the Vienna Philharmonic and first violinist of the Hellmesberger Quartet who however dismissed it as a "weak work" and never played it in public. Rather, the premiere took place a year later in Berlin with the Joachim Quartet.
Dvorák, on the other hand, considered his Quartet op. 61 to be "the greatest and also most accomplished" of his existing chamber music works. The filigree texture of the work as well as the echoes of Schubert's Quintet in C major and Brahms's Sextet in G major show that he was decidedly trying to shed the cliché of a naïve writer of Slavic melodies and place himself in the Viennese tradition.
Simrock's first edition of the score served as the editor's main source. The autograph score as well as the first editions of the parts and Dvorák's four-hand piano arrangement were also evaluated. The edition contains a facsimile of twelve discarded measures of the Violin Sonata op. 57, which Dvorák used and developed further in the second movement of the quartet. | | | | |
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| Dvorák, Antonín | | String Quartet no. 11 in C major op. 61 | BÄRENREITER URTEXT
Editor: Schick, Hartmut | | TP 566 | EUR 13.50 | Study score | 9790260109438 | | Replaces H 1789 | | | | |
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| | Representative genres of Portuguese organ music from the 16th century to the beginning of the 19th century
Notation suitable for modern practise
For performances in church and concerts
Easy to medium level of difficulty
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| Portuguese Organ Music 1540–1834 | | Editors: Doderer, Gerhard / Ripoll, Miguel Bernal | | BA 11265D | EUR 42.95 | 9790006577583 | This edition, edited by Gerhard Doderer (Lisbon) and Miguel Bernal Ripoll (Madrid), offers a representative overview of the cosmos of Portuguese organ compositions spanning three hundred years. The printed collection of Gonçalo de Baena (Lisbon 1540) and the Portuguese secularisation of 1834 were chosen as the parameters within which pieces were selected.
This stimulating and inspiring album of works by Portuguese organists or organists working in Portugal such as António de Carreira, Manuel Rodrigues Coelho, Pedro de Araújo and Carlos Seixas, dispenses with the adoption of historical notation and makes this music directly accessible to today's organists by orientating itself to the current practise.
In addition to 27 organ compositions of various genres such as Verso, Tento, Batalha or Sonata, the volume contains detailed explanations of the compositions, their liturgical function and organ building. This gives an impression of the diverse, geographically very different and, over the centuries, highly diversified Portuguese organ landscape. | | |
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| Klapprott, Bernhard | | B-A-C-H for two Harpsichords | |
| BA 11494 | EUR 14.95 | Performance score | 9790006579303 | | The “B-A-C-H, Perpetuum Mobile”, composed in 2016, refers to a statement by Beethoven in which he expressed admiration for the infinite richness of Bach's musical art. The idea of infinity inspired Bernhard Klapprott (harpsichordist, organist, director of the Institute for Early Music at the University of Music in Weimar) to create his musical perpetuum mobile. Two harpsichords merge into a large, rich sound that builds from nothing on an ostinato up to fully notated clusters. In addition to the B-A-C-H motif, the entire work is based on the three intervals underlying this motif, which are heard in various constellations. Expansive arcs of tension evoked through rhythmic condensation, a gradual decrease in the number of parts while simultaneously shifting them to different pitches lend the work a sense of space and expansiveness. The dynamics are created by the movement itself, so that no changes of register are prescribed. The work emerges and fades away, ending as it began – the musical realisation of the idea of infinity. | | | | |
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| | Optimised performance material due to inclusion of text in all instrumental parts
Based on the Urtext from the revised new edition (volume 4) of the “Heinrich Schütz Complete Edition”
Variable scoring possible
Replaces the performance material BA00250 and is not compatible with it |
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| Schütz, Heinrich | | Musikalische Exequien SWV 279-281 | | Editor: Schmidt, Beate Agnes | | BA 5926 | EUR 27.95 | Full score | 9790006578504 | Replaces BA 250
In the midst of the Thirty Years' War, Heinrich Schütz composed the "Musikalische Exequien" SWV 279–281, a unique funeral music that reflects questions about earthly suffering and the promise of eternal life. In this revised new edition, editor Beate Agnes Schmidt compares the only, albeit incomplete, surviving first edition with contemporary copies and the Spitta edition (Old Schütz Edition, Breitkopf, 1898) for the first time. The edition thus offers an extensive reconstruction of the original work.
The performance material meets the practical needs of the performers: the three differently scored motets can be performed vocally with continuo, but the individual vocal parts can also be enhanced by instruments. To bolster the phrasing, the instrumental parts as well as the string bass include the texts; parts in the same register have been compiled in one playing score. | | | | | | BA 5926-91 | Choral Score | EUR 9.95 | Minimum order quantity: 10 |
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| | Performance material based on the latest musicological research
Based on the Urtext of the new revised volume of the G. Henle Complete Edition “Works of Joseph Haydn”
Replaces the performance material BA04652 and is not compatible with it
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| Haydn, Joseph | | Missa in Tempore Belli Hob. XXII:9 "Mass in Time of War" | | Editor: Friesenhagen, Andreas | | BA 11318-90 | EUR 26.95 | Vocal score (Lat) | 9790006578610 | Replaces BA 4652-90
The "Missa in Tempore Belli", also known as the "Mass in Time of War", composed in 1796, makes prominent use of timpani as well as a wind fanfare at the beginning of the "Dona nobis pacem" – both clear and unusual references to a warlike context. One year after the first documented performance which took place in the year of its composition as part of the First Mass of a newly ordained priest, the work was performed again on the Feast of the Archangel Michael, the patron saint of soldiers. In this mass, Haydn paid particular attention to the instrumentation, with clarinets and horns being added in some movements.
This edition which is based on the new revised Complete Edition volume published by G. Henle Verlag replaces BA04652. A new edition was deemed necessary due to the discovery of further relevant sources and the correction of numerous errors. | | | | | | | | | | | | | | | | BA 11318-91 | Choral score | EUR 13.95 | Minimum order quantity: 10 |
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| | Well-presented, easy-to-play piano part
Replaces the vocal score BA05344-90
Orchestral parts continue to be available under BA05344
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| Mozart, Wolfgang Amadeus | | Missa in B-flat major K. 275 (272b) | BÄRENREITER URTEXT
Editor: Holl, Monika / Piano reduction: Köhs, Andreas | | BA 11972-90 | EUR 14.95 | Vocal score (Latin) | 9790006579051 | The Missa in B-flat major K. 275 was composed in 1777. Following the tradition of the “Missa brevis”, the movements are short and in textually abundant movements such as the “Credo”, different text passages are sung simultaneously. The orchestration is also reduced accordingly.
The vocal score of this frequently performed mass replaces the previous edition (BA05344-90). Inaccuracies have been removed. While containing all the essentials, the piano part is now more spaciously presented, making it more accessible to non-professional musicians.
Although revisions have been made, this new vocal score remains compatible with the previous one, so that it is not a problem if some choir members use the new score and others still use the old one. The orchestral parts will continue to be available under BA05344. | | | | |
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| | Critical new edition of Dvorák’s most famous opera
Detailed evaluation of the vi-de markings
Corrections in the original Czech vocal text
Foreword on the genesis and reception of the opera (Eng/Cz/Ger)
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| Dvorák, Antonín | | Rusalka op. 114 | BÄRENREITER URTEXT
Editors: Simon, Robert / Hájek, Jonáš | | TP 438 | EUR 42.95 | Study score | 9790260109407 | | This study score of Antonín Dvorák’s penultimate and most well-known opera “Rusalka” (1900) corresponds to the new critical edition published in 2023 that brings the musical text of the opera up to today’s standards. Editors Robert Simon and Jonáš Hájek worked not only with the autograph and the copy of the score from which the premiere and many subsequent performances were conducted, but also with three handwritten piano reductions directly connected to Dvorák that had not been evaluated for the previous Jarmil Burghauser edition, as well as with sketches and other sources. What is new compared to the previous edition is the consistent marking of editorial additions, the restoring of some of Dvorák’s original readings in the vocal text, and a detailed evaluation of the vi-de markings authorised by the composer. At the same time a certain variability is retained and conductors continue to have the option to make cuts. | | |
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| | Urtext edition based on the “Gluck Complete Works”
Informative bilingual Foreword (Ger/Eng)
Practical, easy-to-play piano reduction |
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| Gluck, Christoph Willibald | Atto d'Orfeo
from "Le feste d'Apollo"; Parma Version 1769 | BÄRENREITER URTEXT
Editors: Buschmeier, Gabriele / Foerster, Isolde von | | BA 5842-90 | EUR 36.95 | Vocal Score (Italian/German) | 9790006526666 | In 1768, Empress Maria Theresia asked Gluck to compose a festive opera to mark the marriage of her daughter Maria Amalia to Ferdinand of Spain in Parma. The composer accepted the commission and created “Le feste d'Apollo”, consisting of several one-act works, including “Atto d’Orfeo”. This was a new version of the azione teatrale “Orfeo ed Euridice”, which had been premiered in Vienna in 1762 and which was reworked for Paris in 1774. Gluck transposed the title role up for the famous soprano castrato Giuseppe Millico, so that Orpheus’ famous aria “Che farò senza Euridice”, for example, is in E-flat major instead of C major.
The vocal score includes a well-manageable piano reduction with the accustomed generous engraving. | | | | |
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| New edition for orchestra |
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| | Based on the G. Henle Complete Edition “Works of Joseph Haydn”
Orchestral parts in a large format (25.5 cm × 32.5 cm) with practical page turns |
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| Haydn, Joseph | | Symphony in B-flat major Hob. I:68 | | Editor: Stockmeier, Wolfgang | | BA 10994 | EUR 45.95 | Full score | 9790006578306 | Haydn composed his Symphony in B-flat major Hob. I:68 around 1774/75, almost ten years after his creative period began at the Esterházy Palace. At this time, the opera activities at the princely court were in a phase of development which was also reflected in the certain operatic quality of this symphony, for example, in the dramatically fluctuating slow movement. This movement is placed third instead of second for the last time in Haydn's œuvre.
The court orchestra was also slightly expanded to accommodate the opera activities. Haydn was now able to employ two bassoon parts in his symphonies for the first time, thus creating a fuller sound in the woodwinds of Symphony No. 68. | | | | BA 10994-74 | Violin I | EUR 12.95 | Minimum order quantity: 4 |
| | BA 10994-75 | Violin II | EUR 12.95 | Minimum order quantity: 4 |
| | | | BA 10994-82 | Violoncello, Double bass | EUR 12.95 | Minimum order quantity: 4 |
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| | New scholarly-critical edition
Includes many new findings: a valuable source for performance and scholarly research
Including all cuts in the appendix |
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| Mascagni, Pietro | Cavalleria rusticana
Melodrama in one act | Masterpieces of Italian Opera
Editors: Giger, Andreas / Greenwald, Helen | | BA 7649-01 | EUR 456.00 | Linen bound full score | 9790006543649 | | Reduced subscription price available | The premiere of Pietro Mascagni’s “Cavalleria rusticana” in May of 1890 is a landmark in the history of opera. It was an enormous success, ostensibly marking the beginning of operatic verismo, and it was also praised for reenergizing a tradition the Italians felt had been languishing for some time. Mascagni composed the work as an entry for the second competition for a new one-act opera sponsored by the Milanese publisher Edoardo Sonzogno in 1888.
This history is well known, as is the fact that Mascagni made substantial cuts to his opera while it was being prepared for performance at the Teatro Costanzi in Rome. The reasons for these cuts are manifold. They appear in every number except for the Preludio and the Intermezzo and fall into three categories: those tightening the tempi, those reducing the more demanding chorus’ parts, and those accommodating transpositions requested at the last minute by the protagonist singers Gemma Bellincioni and Roberto Stagno. All cuts are included in the appendix of “Cavalleria rusticana”, the second volume of the series “Masterpieces of Italian Opera.” (MIO)
For further information:
https://www.takte-online.de/en/music-theatre/detail/artikel/ohne-konzessionen-die-originale-cavalleria-rusticana
https://www.deutschlandfunkkultur.de/ehre-wem-ehre-gebuehrt-die-cavalleria-rusticana-von-pietro-mascagni-dlf-kultur-ac6db35c-100.html | | |
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| Nectoux, Jean-Michel | | Gabriel Fauré. Iconographie | Gabriel Fauré. Œuvres complètes VII/2
| | BVK 2610 | Linen-bound book | EUR 230.00 | 9783761826102 | | Reduced subscription price available | By means of pictures and photos this volume illuminates various aspects of Gabriel Fauré’s personality (1845–1924): the man among relatives and friends, the musician with colleagues and in the context of the time and the places where he worked.
Fauré was an attractive man with a distinct charm and strong appeal. His physiognomy inspired many painters such as Eugène Baugnies, Paul Mathey, Antonio Argnani, Théo Van Rysselberghe, Ernest Laurent and Jacques-Émile Blanche; the most famous is certainly the oil painting by his British friend John Singer Sargent. The number of photographs in which Fauré is depicted is also enormous due to the public positions he held: initially an organist at the Madeleine, he became a composition teacher at the Paris Conservatoire, then director of this institution and finally a member of the Institut de France.
In addition, the iconography contains a selection of documents: manuscripts, posters, costumes, production photos of his stage works as well as illustrated covers of original editions. And lastly, photos taken by Fauré himself are also included.
Collected, edited and annotated by Jean-Michel Nectoux, who has made Fauré the focus of his research work over a period of more than 50 years, this illustrated volume is a treasure trove for anyone fascinated by French music of the time. The volume is published as a supplement to the Complete Critical Edition of Fauré’s Works. | | |
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| Rameau, Jean-Philippe | | La Naissance d'Osiris RCT 48 | Jean-Philippe Rameau. Opera Omnia (OOR) IV/24
Editors: Thompson, Shirley / Sadler, Graham | | BA 8863-01 | EUR 189.00 | Linen-bound full score | 9790006558254 | | Reduced subscription price available | Originally conceived as a prologue for the ballet “Les Beaux Jours de l'Amour”, the one-act play “La Naissance d'Osiris” was only performed twice, together with revivals of “Pigmalion” and “Les Incas de Pérou” (the second act of the opera-ballet “Les Indes galantes”) in 1754. The occasion was the birth of the Duc de Berry, later Louis XVI. There is no evidence that “La Naissance d'Osiris” was ever revived in the 18th century, probably because it was too closely linked to the occasion of the premiere. However, Rameau reused parts of the music in later works such as “Anacréon”, “Les Paladins” and “Les Boréades”.
For the content, the librettist Louis de Cahusac drew on the myth of the birth of the Egyptian god Osiris, who symbolizes the newborn prince. The approximately one-hour work for four vocal soloists, choir, orchestra and dancers is written predominantly in a pastoral style.
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