| +++ Bärenreiter News – July 2024 +++ |
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| Bärenreiter News – July 2024 |
Dear musicians
We are pleased to present our newsletter with details on Barenreiter’s new publications.
In particular, we would like to draw your attention to our new Urtext edition of Frank Martin's Mass. During the research for this edition, a previously unknown source was discovered and evaluated.
Further information on these editions and music samples can be found on our website. All editions can be ordered directly from our webstore.
We look forward to receiving your orders.
With kind regards
Your international sales and marketing team
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| | Taking into account a radio recording from 1970 in which the composer was involved
Detailed Foreword on the genesis of the work and its reception (Ger/Eng) as well as a Critical Commentary (Eng) |
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| Martin, Frank | Mass for Double Choir a cappella
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Editor: Ostrzyga, Michael | | BA 11315 | EUR 13.95 | Performing score | 9790006578030 | This edition of Frank Martin’s mass is a scholarly-critical as well as a performing edition that takes all sources into account. As a matter of fact, it was only during the research for this edition that a previously unknown source was discovered and evaluated – a radio recording of the mass, which was produced in 1970 by the Dutch NCRV Vocaal Ensemble with the participation of the composer. The project also included the first public performance of the work, which took place shortly afterwards in the presence of the composer and may have inspired him to make later changes.
Martin’s manuscripts from the 1920s, as he repeatedly emphasised, were never intended for publication and were laid aside for 40 years. After the 1970 production, Martin was also involved in the preparation of the 1972 first edition, with which he was very satisfied. On the basis of extensive research into the genesis and performance history of the mass, all sources were re-evaluated in order to present a musical text that corresponds as closely as possible to Martin's intentions whilst meeting all the requirements of the performers. | | |
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| | First Urtext edition of Fanny Hensel's "Easter Sonata"
With a colour facsimile of the autograph
Well-presented layout of the music with practical page turns |
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| Hensel, Fanny | | Ostersonate (“Easter Sonata”) for Piano | BÄRENREITER URTEXT
Editor: Rolf, Marie | | BA 11853 | EUR 36.95 | Performance score with inserted facsimile | 9790006575879 | This piano sonata was still considered to be by Felix Mendelssohn Bartholdy when it was recorded by Éric Heidsieck in 1972. It was not until 2010, almost 200 years after its composition in 1828, that musicologist Angela Mace Christian was able to unequivocally attribute the work to Mendelssohn's sister Fanny Hensel. Bärenreiter presents the first Urtext edition of the "Easter Sonata". It is based on the autograph, which was inaccessible for a long time due to it being in private hands. Now the manuscript is part of the Robert Owen Lehman Collection.
The first volume of the edition contains the critical edition of the sonata, supplemented by a detailed Critical Commentary (Eng). The inserted second volume offers a complete facsimile reproduction in colour of Fanny Hensel's autograph. ... | | |
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| | Now available in an Urtext edition
Detailed Foreword on the work's genesis (Ger/Cz/Eng) and Critical Commentary (Eng)
A work from Dvorák's years in America
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| Dvorák, Antonín | | Suite for Piano in A major op. 98 | BÄRENREITER URTEXT
Editor: Cividini, Iacopo | | BA 10421 | EUR 14.95 | Performance score | 9790260109452 | Replaces H02226
Antonín Dvorák's five-movement "Suite in A major" for piano was completed in New York on 1 March 1894, shortly after the triumphant success of his "New World" Symphony. As he himself noted in the autograph, it was the fifth piece he composed during his stay abroad. In a letter to his publisher Simrock he called the Suite, alongside the "Biblical Songs", his finest achievement to date in this area. The Suite was published by Simrock in that same year and received its première performance in December.
After meticulously examining all the surviving sources, including Dvorák's autograph score, editor Iacopo Cividini chose the original print as the main source for his edition. | | |
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| Seither, Charlotte | | red roots for piano | |
| BA 11487 | EUR 29.95 | Performance score | 9790006576470 | | "Red roots" (2022) hints at its source material in depth – only to turn it into something independent. Starting from a Beethovenian cell (from the unpublished sketch, "Wir irren allesamt"), the focus is on leaving the point of departure, which brings up new lines in the interior of the piano. Here, the (supposed) Beethoven presents himself as an "invented memory", so reality is variously played around, touched upon, over or undercut. The playing on the keys becomes the root material in the interior of the piano, the sound splits more and more in the course of the piece. I liked to follow this path: to start from Beethoven, but never to return to him. (Charlotte Seither) | | | | |
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| Seither, Charlotte | | lauschgut for inside piano | |
| BA 11421 | EUR 17.95 | Performance score | 9790006567836 | | "Lauschgut" (2018/19) follows the idea of freeing the piano from its chordal tradition. Instead, the single note is fringed so far inwards that pitch and noise can meet in "fanned-out unanimity". The piece consists of five short fragments reduced to very little material. They are further dispersed by extensive silences between the movements: what is once said stands irretrievably in space. In the risk of the emergence of sound as well as the interrupted form, what is heard is also "eavesdropped" by the listener. (Charlotte Seither) | | | | |
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| The Art of Piano Education Awards |
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We are absolutely delighted to have won two categories in The Art of Piano Education Awards #pianoedawards24 presented at the Royal Albert Hall (London).
Our Urtext edition of Schubert’s Complete Piano Sonatas (BA10889) was the winner in the category Best Classical Piano Repertoire Book or Series. Many congratulations also go to our colleagues at Bärenreiter Prague for “The Secret Garden. Modern Nocturnes for Piano” by Jakub Metelka (BA11574) which came first in the category Best Contemporary Repertoire Collection/Series.
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| | Edited on the basis of the "New Schubert Edition" with access to Schubert's drafts and fragments via the Bärenreiter website
Reader-friendly engraving with practical page turns as well as running titles to easily find the sonatas and individual movements
With in-depth notes on performance practice in Schubert's day (Ger/Eng) and readings relevant to interpretation in the Critical Commentary (Eng) |
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| Schubert, Franz | | Piano Sonatas I-III | BÄRENREITER URTEXT
Editor: Litschauer, Walburga | | BA 10889 | EUR 89.00 | Performance score | 9790006577415 | Schubert's piano sonatas reflect the entire cosmos of his distinctive writing, spanning from an early experimentation with this form to the iconic last three sonatas, which the composer completed in 1828, the last year of his life.
All three volumes are equipped with informative prefaces on the genesis and sources, as well as valuable notes on piano playing in Schubert's time (including articulation, pedal usage, ornamentation) by Mario Aschauer - with a focus on Schubert's characteristic notation of accents. ...
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| | 15 recital pieces that evoke nocturnal moods
Of medium difficulty
Audio recordings online
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| Metelka, Jakub | The Secret Garden
Modern Piano Nocturnes | |
| BA 11574 | EUR 15.95 | Performance score | 9790260109711 | The album "The Secret Garden" by Jakub Metelka (b. 1986) contains fifteen recital pieces in simple song form, thus tying in with his successful, technically less demanding piano cycle "Little Virtuoso" (BA11569). The individual compositions in the collection are characterized by Metelka's unmistakable, tonally anchored melodic style, enriched with many unusual harmonies and colours, which here underlines the slightly melancholic and mysterious character of these nocturnal pieces. The playful illustrations by Andrea Tachezy reflect these moods in an imaginative and charming way.
Although it is not really a predetermined cycle, the fifteen atmospheric character pieces, with their programmatic titles and their arrangement tell a kind of fairy tale that culminates in the magical final composition "The Secret Garden". | | |
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Errors excepted; price changes and delivery terms subject to change without notice.
Responsible for content (i.S. des § 10 Abs. 3 MDStV): Ivan Dorenburg
Your contact at Barenreiter: Carolin Jetter · [email protected] · Fax +49 (0)561 3105310
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