| +++ Bärenreiter News – December 2023 +++ |
Dear musicians
We are pleased to present our newsletter with details on Barenreiter’s new publications.
Have you already browsed through our jubilee editions? We are sure you will find something that would be an ideal gift. The prices are unbeatable!
Would you like to learn more about Barenreiter? In our newsletters you can find out more about the history of the publisher.
Please visit our anniversary page 100.baerenreiter.com and our social media channels regularly. You will find background information and exciting news throughout our jubilee year 2023/2024.
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.
Your international sales and marketing team
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Bärenreiter would be nothing without conductors, instrumentalists and singers who bring our music to life all over the world.
We are immensely grateful for their companionship, their enthusiasm and for their feedback.
During our entire anniversary year we will be raising the curtain for our Barenreiter Jubilee Ambassadors and presenting selected Ambassadors in our newsletters.
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| Renée Fleming, Soprano | |
| "Bärenreiter Urtext editions have been absolutely indispensable resources for me throughout my career. I always relied on Bärenreiter Mozart editions when I was performing these roles – as well as the complete Schubert when I was studying in Germany. The scholarly research that goes into these editions instills confidence in the artist – not only to be sure of performance practice, but also that the score we are using fully represents the composers’ wishes." |
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| | Ground-breaking musical text based on the "Oeuvres instrumentales complètes" by Camille Saint-Saëns
Extensive Foreword on the genesis and significance of the etudes (Fr/Eng/Ger) and a Critical Commentary (Eng)
With notes on interpretation (Fr/Eng/Ger)
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| Saint-Saëns, Camille | Six Études for Piano op. 111 R 49
Deuxième livre | BÄRENREITER URTEXT
Editor: Massip, Catherine | | BA 11855 | EUR 21.95 | 9790006576074 | | More than 20 years after op. 52, Saint-Saëns turned once more to the genre of the concert etude. In 1892, he wrote an etude that was initially intended for publication in a magazine and later was to become etude no. 1. However, on the advice of his publisher Durand, the composer refrained from publishing it individually and wrote a further five etudes by 1898 to complete a new collection. The dedications are mainly intended as a thank you to pianists who were committed to the performance of his piano music, including Arthur De Greef, Raoul Pugno and Édouard Risler. Shortly after the publication of the edition in 1899, Pablo Sarasate arranged the impressionistic-sounding etude "Les Cloches de Las Palmas" for solo violin and Risler the last two pieces (Tierces majeures chromatiques, Toccata) for two pianos. | | |
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| | Restoring of the original musical text authorised by Ravel
Retaining the idiosyncracies of Ravel's notation (e.g. allocation of treble and bass clef)
Appendix with a list of alternative readings |
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| Ravel, Maurice | | Concerto for Piano and Orchestra | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 9048 | EUR 49.95 | Full score | 9790006573868 | BA 9048-90 | EUR 28.95 | Piano reduction | 9790006573875
No distribution rights for the USA
In the 1960s, long after Ravel's death, the musical text of the then available Durand edition of Ravel's Piano Concerto in G major underwent various changes. Although it is unknown who authorised these changes, they have become established as common performance practice.
A variety of sources were consulted for this new edition. The first print of the score, parts and piano reduction as well as a set of proofs used by pianist Marguerite Long to rehearse the work for the premiere served as the main sources. Ravel's autograph, which was used as the engraver's copy for the first print, must be considered a secondary source as Ravel later authorised changes during the proofreading process. Additionally, a set of handwritten orchestral parts owned by André Kostelanetz, the first sound recording of the concerto as well as copies of the first print of the piano reduction which Marguerite Long, Alfred Cortot, Gustave Samazeuilh, and Robert Casadesus received as gifts were consulted as secondary sources. These piano reductions, all from the possession of musicians who belonged to Ravel's closest circle, have played a major role in restoring the original form of the work as it was published and performed under Ravel's supervision.
The musical text appears in a clear, spacious layout with optimum page turns. Characteristics of Ravel's notation have been retained with regard to cautionary accidentals, beaming, stemming and the distribution of the piano part between the upper and lower staves. The piano reduction offers an innovative solution to the problem that not all the layers of the orchestral writing can be reproduced in the piano part: for some passages two versions are presented, one with a reduction of the wind parts and one with a reduction of the string parts.
The text apparatus contains notes on interpretation, e.g., with regard to tempo based on the 1932 recording with Marguerite Long as soloist which was carried out in the presence of Ravel. | | | | BA 9048-74 | Violin I | EUR 8.95 | Minimum order quantity: 4 copies |
| | BA 9048-75 | Violin II | EUR 8.95 | Minimum order quantity: 4 copies |
| | BA 9048-79 | Viola | EUR 8.95 | Minimum order quantity: 3 copies |
| | BA 9048-82 | Violoncello | EUR 8.95 | Minimum order quantity: 2 copies |
| | BA 9048-85 | Double bass | EUR 8.95 | Minimum order quantity: 2 copies |
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| | New volume in the series "organ plus one" with well-known repertoire
Enrichment of services and concerts during Advent and Christmas
Arrangements for professional as well as semi-professional church musicians
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| organ plus one: Advent / Christmas, Volume 2 | Original Works and Arrangements for Church Service and Concert
Series organ plus one
Editor: Klomp, Carsten | | BA 11215 | EUR 26.95 | Score with 4 parts | 9790006523405 | The "organ plus one" series is conceived primarily for semiprofessional church musicians and instrumentalists. It takes its bearings on the music of the liturgical year and can easily be performed in church services, evening recitals or small concerts. This edition follows on from the already existing Advent and Christmas volume (BA 8501), containing pieces which are freely-composed or based on chorales.
Enclosed in this edition are solo parts for C, B-flat, E-flat and F instruments, allowing the pieces to be played by violin, flute, oboe, clarinet, trumpet and horn in F. The pieces are of easy to medium level of difficulty. For use in church worship, the chorale preludes are provided with accompaniments in the keys of the Lutheran hymnal. | | |
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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
Detailed Foreword on the genesis and reception of the opera (Eng/Cz/Ger) and a Critical Commentary (Eng) on the full score and libretto
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| Dvorák, Antonín | Rusalka op. 114
Lyric Fairy Tale in Three Acts | BÄRENREITER URTEXT
Editors: Simon, Robert / Hájek, Jonáš | | BA 10438 | EUR 480.00 | Full score | 9790260109384 | BA 10438-90 |EUR 59.00 | Vocal score (Cz/Eng/Ger) | 9790260109391
BA 10438-91 | EUR 16.95 | Choral score with piano reduction | 9790260109612 | Minimum order quantity: 10 copies
Performance material available on hire
Antonín Dvorák composed his penultimate and most well-known opera "Rusalka" in just seven months between April and November 1900. The premiere took place on 31 March 1901 at the National Theatre in Prague under Karel Kovarovic. Today, "Rusalka" is one of the most frequently performed works of the international opera scene.
More than sixty years after the Jarmil Burghauser edition, a new critical edition is presented here 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, but unknown to Burghauser, 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 variability is retained and conductors continue to have the option to make cuts.
Libretto (CZ) for download
Libretto (GER) for download
Libretto (EN) for download | | | | |
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| Mendelssohn Bartholdy, Felix | Passion Music after the Evangelist Matthew
Arrangement of Johann Sebastian Bach's St. Matthew Passion | | Editors: Bruno, Malcolm / Ritchie, Caroline | | BA 11308 | EUR 98.00 | Full score | 9790006567683 | BA 11308-90 | EUR 38.95 | Vocal score (Ger) | 9790006574674
Performance material available on hire
It is hard to imagine today that the music of J. S. Bach fell into oblivion for about half a century after the composer's death. His successors at the Thomaskirche preferred simpler homophonic compositions, and by the beginning of the 19th century his music served only as a subject of academic study. The composer and teacher Carl Friedrich Zelter greatly appreciated Bach's contrapuntal artistry and passed it on to his pupil Felix Mendelssohn who, by the age of twelve, had become a master of the art of the fugue. Two years later, the young Felix was to receive his most valuable gift, a hand-copied score of Bach's St. Matthew Passion. With Zelter at his side, he gave the first performance (since Bach's death) in 1829 with musicians from the Berlin Singakademie.
It was an ambitious undertaking, not only because of the complexity of Bach's music, but also because of the unfamiliarity by that time with Baroque performance practice (size of instrumentation, Baroque instruments, ornamentation, etc.).
Twelve years passed before Mendelssohn made another attempt to perform the "Great Passion Music" as he called it – this time as part of a Bach series in Leipzig's Thomaskirche. For this performance, he reinstated a number of arias that he had deleted in 1829 and revised the secco recitatives so that no keyboard instrument was required. This 1841 version still followed a shorter conception of the work and comprised about two-thirds of the original, roughly the same size as the St. John Passion. What Mendelssohn left behind when he died a few years later must be seen as a "version in progress" on which he had certainly intended to continue working.
The new Bärenreiter edition returns to Mendelssohn's unique vision of Bach's masterpiece. By bringing together what Mendelssohn had sketched and including supplements to certain parts by the editor, the work is now presented in its reduced form, with the revised part for the Evangelist (in the secco recitatives with orchestral accompaniment), with clarinets replacing the oboe damore, and with a suggestion for the missing continuo part (which had been begun for the Thomaskirche organ but remained unfinished or was lost). The new edition shows not only Mendelssohns imaginative reinterpretation of the original, but also the versatility of Bach's music in his hands. In an age in which Bach is played almost exclusively by Baroque ensembles, it allows them the opportunity to perform one of Bach's greatest works from a 19th century perspective. | | | | |
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| | Clear, uncluttered engraving
Foreword on the genesis and transmission of the works as well as the sources of each individual lied (Ger/Eng)
Includes English translations of the lieder texts by Richard Wigmore |
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| Schubert, Franz | | Lieder, Volume 10 for High Voice | BÄRENREITER URTEXT
Editor: Dürr, Walther | | BA 9110 | EUR 39.95 | 9790006530595 | | Volume 10 of the new Urtext edition of Schubert’s lieder contains works composed between September 1816 and August 1817. Above all, the collaboration with his friend, the poet Johann Mayrhofer, was decisive for Schubert’s development as a lieder composer in these months. | | | | |
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| | The edition contains two inserted scores with the musical text, one for the harmony instrument, the other for the low string instrument
An extensive Foreword (Ger/Eng) is available online, under "Extras"
Libretto edition by Sara Elisa Stangalino with translations (Eng/Ger) |
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| Monteverdi, Claudio | | Lamento d' Arianna (Monodia) / Pianto della Madonna (Contrafactum) for Solo Voice and Basso continuo | BÄRENREITER URTEXT
Editors: Schulze, Hendrik / Stangalino, Sara Elisa | | BA 8796 | EUR 26.95 | 9790006567126 | | Claudio Monteverdi's 1608 opera "Arianna" is best-known for the title character's lament sung by Isabella Andreini. Contemporary voices praised the depth of expression and the power of affect in this continuo-accompanied piece for solo voice. The interest in this operatic scene now known as the "Lamento d'Arianna" led to many transcriptions and finally also printed versions and contrafacts being circulated, such as the Marian lament "Pianto della Madonna" from 1640/41, which is available in this edition. | | |
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| | New Urtext edition in which the discrepancies in previous editions have been corrected
New sources taken into account
With a Foreword (Eng/Ger) in the study score by Misha Donat on the genesis of the work
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| Beethoven, Ludwig van | | Septet for Clarinet, Bassoon, Horn, Violin, Viola, Violoncello and Double Bass in E-flat major op. 20 | BÄRENREITER URTEXT
Editor: Del Mar, Jonathan | | BA 10944 | EUR 38.95 | Set of parts | 9790006574773 | TP 944 | EUR 17.95 | Study score | 9790006203185
With his septet for clarinet, bassoon, horn, violin, viola, cello and double bass, Beethoven created a key chamber music work for larger ensembles. He composed the six-movement septet at the same time as his Symphony no. 1 and premiered the two works together in April 1800 at his first benefit concert in Vienna.
This Urtext edition is based on a meticulous comparison of the autograph, the first edition parts and score as well as a set of parts in the Roudnice Lobkowicz Collection in Prague, which has been used for the first time for a scholarly-critical edition. In particular, the precise evaluation of the autograph has made it possible to correct numerous discrepancies and accurately reproduce Beethoven’s notation.
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| Trojahn, Manfred | Abendröte for Low Voice and Piano
Eleven songs on texts by Friedrich Schlegel | | Performance score | | BA 12001 | EUR 27.95 | 9790006578252 | With their very accessible style and expressive interpretation of the words, these contemporary works continue in the tradition of classical and romantic song cycles and will form a welcome addition to every song recital. "Abendröte "is a cycle that brooks comparison with the songs Schubert wrote on the same set of Schlegel poems: Trojahn has composed the poems Schubert chose not to set.
Already available:
Version for baritone and piano, BA 11091
Version for high voice and piano, BA 11081 | | |
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| | Critical edition of the Universal Edition from 2017, now included in the Complete Critical Edition
Score expanded compared to the Universal Edition to include the libretto in three languages (Cz/Eng/Ger) with translations of the Czech original by Max Brod (Ger) and David Pountney (Eng)
With a complete Critical Commentary and a detailed analysis of the libretto's Russisms in the Appendix (Eng)
With practical performance notes by Sir Charles Mackerras (Eng) |
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| Janácek, Leoš | | From the House of the Dead | Complete Critical Edition of the Works of Leoš Janácek A/10
Editor: Tyrrell, John | | BA 11599-01 | EUR 650.00 | Full score, linen-bound | 9790260109841 | | Reduced subscription price available | "From the House of the Dead" (1928) is Janácek's last operatic work. The libretto was written by the composer himself after F. M. Dostoevsky's "Notes from the House of the Dead".
The critical edition published by Universal Edition in 2017 is based on an authorized copy of the opera, which was made between 10 March and 20 June 1928 by Janácek's copyist under the composer's supervision. This copy contains Janácek's corrections to Acts 1 and 2; he was no longer able to revise Act 3 as he died in August 1928.
After Janácek's death, his students, the conductors Bretislav Bakala and Osvald Chlubna, were asked to complete the orchestration. The director Ota Zítek also made dramaturgical changes to the end of the opera. The premiere of the work in this version took place in Brno on April 12, 1930. In this edition, the editor John Tyrrell frees the opera from subsequent additions and changes and presents it in its authentic version as Janácek left it.
A valuable contribution are the practical performance notes (in English) by the great Janácek expert, Sir Charles Mackerras, which offer practical solutions to specific problems in the score. | | |
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The Evolution of a Logo
Although the very first logo of the Bärenreiter publishing house, dating from 1923, might seem somewhat outdated today, it is still very beautiful as it exudes a sense of enthusiasm, a spirit of optimism and excitement. It shows a happy bear galloping along and carrying a boy who is reaching for a star. The boy stands for the young founder of the publisher, Karl Vötterle. The star, the so-called “Alkor” star, is part of the “Great Bear” constellation and is also known as the “rider of the bear” (“Bärenreiter” in German).
In later years the logo was transformed, the boy disappeared and the bear changed its shape. During the 1920ies it looked slightly shaggy and downtrodden. Today the bear strides along sleekly, holding its head high with an optimistic look into the future.
And the Bärenreiter star shines throughout.
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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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