| | Scholarly-critical edition with a Foreword on the background of the work and on performance practice (Ger/Eng)
Spaciously arranged solo parts with ideal page turns
With practical tips for a flexible realisation of this work |
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| Vivaldi, Antonio | | Concerto for two Violoncellos, Strings and Basso continuo in G minor RV 531 | BARENREITER URTEXT
Editor: Schwemer, Bettina | | BA 10946 | EUR 19.95 | Full score | 9790006569748 | BA 10946-90 | EUR 22.95 | Piano reduction with two violoncello parts| 9790006569755
Throughout his life, Antonio Vivaldi wrote almost thirty instrumental works that use the cello as a solo instrument. Vivaldi knew how to tailor his music to the cello and in doing so, helped to establish this still young instrument in the music of that time.
The Concerto RV 531 is the only double concerto in Vivaldi's oeuvre for two solo violoncellos. The two solo parts take centre stage with virtuosic passages but lie on the instrument so well that they can be comfortably mastered by advanced students.
The edition is based on the careful evaluation of Vivaldi's autograph score which is the main source and several inconsistencies found in previous editions have been clarified. At the same time the edition allows for a flexible realisation of this concerto: it can be performed by a full tutti orchestra or by one performer per part. The cello part in the basso continuo group can be played by orchestral cellists or by the soloists. | | | | | | | | | | BA 10946-68 | Basso continuo (Harpsichord/ Organ) | EUR 9.95 |
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| | Scholarly-critical edition based on the Urtext from "Oeuvres completes de Gabriel Faure"
Musical text at the forefront of scholarship including comprehensive source research
With performance suggestions (Fr/Eng/Ger) |
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| Faure, Gabriel | | 5 Impromptus for Piano | BARENREITER URTEXT
Editor: Bartoli, Jean-Pierre | | BA 11851 | EUR 16.95 | 9790006574476 | Faure composed his 5 impromptus in two distinct periods of his career, in 1881-83 and 1906-09. Inspired by Chopin's example, the brilliant early impromptus (opp. 25, 31 and 34) resemble lyrical etudes that seem like improvisations but are laid out in symmetrical form with a coda. In contrast, the impromptus opp. 91 and 102 are far more boldly conceived in their sonority, harmony and virtuosity.
This scholarly-critical Urtext edition has been edited by Jean-Pierre Bartoli, a musicologist and professor at the Sorbonne. It presents the musical text from the corresponding complete edition volume (BA 9471) which was published in 2020 as part of the "Oeuvres completes de Gabriel Faure". The edition contains an informative Foreword (Fr/Eng/Ger) and Critical Commentary (Eng). It goes without saying that a reader friendly engraving, practical page turns and valuable performance suggestions are also included. | | |
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| | Edition based on the Urtext from the "New Mozart Edition" (NMA)
Orchestral parts in a large format (25.5 cm x 32.5 cm)
Detailed Foreword (Ger/Eng) |
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| Mozart, Wolfgang Amadeus | | Divertimento for two Horns, two Violins, Viola and Bass in B-flat major K. 287 (271b, 271 H) "Zweite Lodronische Nachtmusik" | BARENREITER URTEXT
Editor: Dunning, Albert | | BA 8809 | EUR 22.95 | Full score | 9790006568970 | Mozart composed his two "Lodron Serenades" for open-air performances on the name day of Countess Antonia Lodron in June 1776 and 1777. Their bright "al fresco" character is immediately recognisable. Alfred Einstein considered these two divertimentos to be "among the purest, gayest, most satisfying, and most perfect that ever assumed musical form".
For both works Mozart chose an ensemble of two horns, two violins, viola and bass instruments. However, the second Lodron Serenade, the Divertimento in B-flat major K. 287, stands out from this sextet format by assigning a remarkably virtuosic solo role to the first violin, from the richly diverse opening movement to the finale with its almost ironic recitative and an exhilarating passage on the folk song "D'Baurin hat d'Katz verlorn". Mozart himself played first violin in the 1777 performance. Later he wrote, "They all opened their eyes! I played as though I were the finest fiddler in all Europe". | | | | | | | | | | | | |
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| | First edition of a dramatic highlight for the stage
Edited in accordance with the high editorial standards of the "Opera Omnia Rameau" (OOR) |
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| Rameau, Jean-Philippe | | Les Paladins RCT 51 | | Editor: Soury, Thomas | | BA 8870-90 | EUR 54.00 | Vocal score (Fr) | 9790006567553 | This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau.
In view of the wealth of the work's musical treasures and the stylistic innovations - similar to the "Boreades" - the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this Comedie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine, "Le Petit chien qui secoue de l'argent et des pierreries" (i.e. "The little dog who shakes silver and stones"). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opera.
This vocal score is based on the "Opera omnia Rameau" series which offers the final version, supplemented in the appendix by the variants of the original version. Since "Les Paladins" remained unpublished during Rameau's lifetime and was also not included in the "Oeuvres completes", this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians. | | |
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| | A milestone in the genre of "Tragedie lyrique" now made accessible
Edited in accordance with the high editorial standards of "Opera Omnia Rameau" (OOR)
Available with a performance-orientated keyboard reduction |
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| Rameau, Jean-Philippe | | Dardanus RCT 35 B | | Editor: Herlin, Denis | | BA 8868-90 | EUR 75.00 | Vocal score (Fr) | 9790006569663 | “Dardanus” is Rameau’s third “Tragedie lyrique” composed for Paris after “Hippolyte et Aricie” and “Castor et Pollux”. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.
The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented. | | |
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| Bach, Johann Sebastian | | St. John Passion "O Mensch, bewein" BWV 245.2 | New Bach Edition. Revised Edition (NBA rev) 6
Editor: Barwald, Manuel | | BA 5938-01 | EUR 251.00 | Linen-bound full score | 9790006556335 | | Reduced subscription price available | The St. John Passion, Bach's first passion oratorio, can hardly be understood as "one" work. Between 1724 and 1750 the work was performed at least four times in various Leipzig churches under the composer's direction and for every one of these occasions it was revised - sometimes quite substantially.
This edition presents the St. John Passion in its second version of 1725, of which only excerpts were rendered in the New Bach Edition volume II/4 (1973). This version as well as the last one of 1749 constitute the two versions that have come down to us almost in their entirety.
Most recently found sources - in particular the libretto print of the passion rediscovered in 2015 - are taken into consideration in this edition for the first time. | | |
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| Gade, Niels Wilhelm | | Korsfarerne (The Crusaders) op. 50 | Niels W. Gade. Works IV/6
Editor: Eskildsen, Karsten | | BA 7625 | EUR 607.00 | Linen-bound full score | 9790006487820 | | Reduced subscription price available | Gade composed the cantata "The Crusaders" op. 50 for soloists, choir and orchestra (termed as "Dramatic Poem" in the original print) in the summer of 1865; it was premiered on 24 April 1866.
Together with the cantatas "Kalanus" and "Zion" written later, the work constitutes, in Gade's understanding, a "kind of trilogy" which centers on different manifestations of the "longing for the true light".
The libretto of "The Crusaders" by Carl Andersen is based on motives from Torquato Tasso's "Jerusalem Delivered" and spreads these over three sections which themselves are subdivided multiple times: I In the Desert - II Armida - III Towards Jerusalem. | | |
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| Pacini, Giovanni | | Gli arabi nelle Gallie | Concentus Musicus 17
Editor: Mascari, Giuseppina | | BA 8393-01 | EUR 743.00 | Linen-bound full score | 9790006563968 | | Reduced subscription price available | Giovanni Pacini's (1796-1867) opera "Gli Arabi nelle Gallie" was composed for Milano where it was successfully premiered at the Teatro alla Scala on 8 March 1827. During the same year the work was also performed in Naples and Vienna and in the years to follow - outside of Italy - also in Madrid, Barcelona and New York.
The work represents Pacini's style and creative powers in full maturity. | | |
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| Troparia tardiva II | Monumenta Monodica Medii Aevi, Subsidia 8
Editor: Kruckenberg, Lori | | BA 5728 | EUR 340.00 | Linen-bound full score | 9790006567614 | | Reduced subscription price available | | |
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| New Publications Bulletin II/2021 |
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The Programme
New Publications II/2021: July - December 2021
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SPA 40 | format A4 | 52 pages | in English | digital format only
After a very challenging time where so many cultural activities had to be cancelled, musical life around the world is gradually coming back to life again. We would like to celebrate this “restart” by presenting you with an abundance of new publications for the second half of this year. At the same time, December 2021 marks the 100th anniversary of Camille Saint-Saens’ death and we have some fine editions of this French composer to mark this special jubilee.
You can view all of the forthcoming editions online.
You can also download this flyer.
We are sure there will be something to cater to all musical tastes.
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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.
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