| | Reliable transcription in a fine performing edition
An arrangement for viola based on a thorough study of the sources to Bach's Cello Suites
In a spacious, modern engraving (24.3 cm × 31 cm) with practical page turns
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| Bach, Johann Sebastian | Six Suites for Violoncello solo BWV 1007-1012
arranged for Viola solo | | Editor: Park, Chung | | BA 5272 | EUR 19.95 | 9790006568895 | Bach's Six Suites for Violoncello solo are among the highlights of eighteenth-century solo string literature. From early on, these pieces have also been performed on the viola – a practice that still enjoys unbroken popularity today.
The source situation regarding the cello suites is complex: Bach's autographs are lost and the surviving sources often contradict each other with regard to phrasing, bowing and other musical details. While most existing viola transcriptions rely on the manuscript copy by Anna Magdalena Bach, this edition follows more closely the manuscript prepared by Johann Nikolaus Schober as well as the anonymous manuscript believed to be commissioned by Johann Traeg more closely because they might reflect later thoughts and elaborations on the Suites by the composer. Chung Park based his arrangement on a thorough study of Barenreiter's Urtext editions of Bach's Cello Suites and recommends violists to refer to these editions and facsimile resources (BA05217 edited by Douglas Woodfull-Harris and Bettina Schwemer; BA05278 edited by Andrew Talle) for further information on the evaluation of the sources and the comparison of differing readings.
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NEW FLYER
Bach's Cello Suites arranged for Viola
SPA00550-19 | format: A4 | 2 pages | English | | | | |
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| | Spectacular new edition by Rameau specialist Denis Herlin
With comprehensive text sections on the contemporary performances and the early reception
With the version of 1763-1764 in the appendix
Practical reduction for the accompaniment of a keyboard instrument
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| Rameau, Jean-Philippe | | Castor et Pollux RCT 32 B | Tragedy in five acts
Version of 1754
Editor: Herlin, Denis | | BA 8864-90 | EUR 52.00 | Vocal score (Fr/Eng) | 9790006558230 | Amongst Rameau's stage works which have come down to us in two main versions, such as "Dardanus" (1739, 1744), "Platee" (1745, 1749) and "Zoroastre" (1749, 1756), none fell into oblivion for as long a period as "Castor et Pollux". After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist Gentil-Bernard to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux.
Following the editorial principles of the "Opera omnia Rameau" (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of "Castor et Pollux", the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum.
This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged.
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| Saint-Saens, Camille | | Septet / The Carnival of the Animals R 122, 125 | Camille Saint-Saens. Oeuvres instrumentales completes III/8
Editor: Ratner, Sabina Teller | | BA 10302-01 | EUR 256.00 | Full score, linen-bound | 9790006541539 | | Reduced subscription price available | Both works included in this volume, "Septuor" op. 65 and "Le Carnaval des animaux" lead a double life between chamber music and ensemble/orchestral music. Saint-Saens wrote them originally as chamber music with only one musician to each string part, but already at the premiere of the "Septuor", the string quartet was doubled much to the composer's delight. The new critical edition brings this rarely used instrumentation back into memory.
Saint-Saens seems to have had reservations towards his "Carnival of the Animals" which is generally viewed as one of his most ingenious compositions and certainly his most famous one, countlessly cited, arranged and transcribed. In a codicil to his will, he stipulated that the complete full score could only be published after his death. He excluded solely "Le Cygne". Apparently he feared that the audience would judge his oeuvre by the "Carnival" and disregard his more serious works.
This volume, published as a part of the series "Oeuvres instrumentales completes", presents the fourteen individual movements based on the few authentic sources. For the first time, the editor identifies all musical citations which are used as parodies or travesties and includes them as an addendum to her detailed introduction which throws a light on the works' genesis and reception and offers notes on interpretation. | | |
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| Gluck, Christoph Willibald | | Sacred and Secular Vocal Music | Christoph Willibald Gluck. Complete Edition VI/1
Editor: Shein, Yuliya | | BA 5817-01 | EUR 240.00 | Full score, linen-bound | 9790006575688 | | Reduced subscription price available | This volume offers a collection of individual sacred and secular vocal pieces that have come down to us under the name of Christoph Willibald Gluck. The selection of the works is premised on the assumed and probable authenticity of the compositions established on the basis of the transmission and the ascertained contexts of origin. The first part, "Sacred Vocal Music", includes the only surviving work by Gluck on a liturgical text, the psalm setting "De profundis clamavi ad te, Domine", while the second part, "Secular Vocal Works", comprises nine pieces on secular texts deriving from varying contexts of origin. On the one hand these are arias which can be attributed to specific opera productions Gluck was involved with, on the other hand, these are Einlage-Arien (insert arias) and individual pieces composed for concert performances. The volume also offers a facsimile of the extant texts to the lost "Cori da cantarsi".
In the Preface and Critical Commentary, the editor Yuliya Shein discusses in detail the complex questions regarding the assessment of the sources and the individual pieces' contexts of origin and performance.
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| Gesualdo, Carlo | Madrigali a cinque voci. Libro primo
| Ferrara 1594
New Gesualdo Edition 1
Editor: Della Sciucca, Marco | | BA 10381-01 | EUR 305.00 | Full score, linen-bound | 9790006559909 | | Reduced subscription price available | Gesualdo's "Libro primo di Madrigali a cinque voci" was first published in 1594 in part books by Baldini in Ferrara. (However, we know that a "private" printing had existed previously, but no trace of it has survived). The present edition is based on the Ferrara first printing, but also draws on all surviving later sources (as well as those of the texts) for comparison.
In addition to explanations concerning the transmission of the printed edition as well as philological questions, the editor's extensive introduction offers a new perspective on the collection's stylistic characteristics, refuting the summary classification of former scholars as a youthfully immature work: Marco Della Sciucca rehabilitates the 1st Madrigal Book as an organically constructed and internally coherent opus, which shows an innovative exegesis of its texts and is open to the central achievements of the most experimental madrigalists, first and foremost Luzzasco Luzzaschi. Gesualdo's original harmonic solutions and virtuoso contrapuntal textures never prove to be an end in themselves, but are always committed to the expressive musical realisation of the verses and their diverse nuances; they thus represent a profound exploration of the content and structure of the poetic texts.
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| Rameau, Jean-Philippe | | Castor et Pollux RCT 32 B | Tragedy in five acts
Version of 1754
Editor: Herlin, Denis | | BA 8864-01 | EUR 460.00 | Full score, linen-bound | 9790006558247 | | Reduced subscription price available | Amongst Rameau's stage works which have come down to us in two main versions, such as; "Dardanus" (1739, 1744), "Platee" (1745, 1749) and "Zoroastre" (1749, 1756), none fell into oblivion for as long a period as "Castor et Pollux". After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist Gentil-Bernard to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux.
Following the editorial principles of the "Opera omnia Rameau" (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of "Castor et Pollux", the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum.
This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged.
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