| | Current urtext edition on the cutting edge of musicology based on "Camille Saint-Saens – Oeuvres instrumentales completes"
With an insightful Introduction (Fr/Eng/Ger) on the genesis of the pieces and Critical Commentary (Eng)
With valuable notes on interpretation (Fr/Eng/Ger)
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| Saint-Saens, Camille | Six Etudes pour la main gauche seule
for Piano op. 135 R 54 | BARENREITER URTEXT
Editor: Massip, Catherine | | BA 11856 | EUR 18.95 | 9790006575725 | Saint-Saens' etudes for the left hand were written in 1912 at the request of his pianist friend Caroline Montigny-Remaury de Serres, who had suffered an injury to her right hand. These etudes which were printed in 1913 were originally entitled "Petites pieces" by Saint-Saens in his manuscript and indeed the cycle, which the composer himself described as "charming" and "amusing", lacks any rigour of an etude collection. Particularly the "Bourree" quickly enjoyed great popularity.
The edition is based on the musical text from "Saint-Saens – Oeuvres instrumentales completes", volume IV/3. An insightful Foreword (Fr/Eng/Ger) on the genesis and interpretation, a Critical Commentary (Eng) as well as an elegant music engraving make this collection of little gems the perfect addition to the piano repertoire.
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| | First Urtext edition of the sonata
First publication of the melodrama "Krajina" (Landscape) with translations (Ger/Eng) of the Czech text in the prefix
Includes the draft of the fourth movement printed as a facsimile
Foreword (Cz/Eng/Ger) on the genesis and reception as well as a Critical Commentary (Eng) |
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| Klein, Gideon | | Sonata for Piano / Landscape, Melodrama for Speaker and Piano | BARENREITER URTEXT
Editor: Pivoda, Ondrej | | BA 9580 | EUR 12.50 | 9790260109261 | The extraordinarily gifted composer and pianist Gideon Klein (1919-1945) was murdered in the Furstengrube concentration camp at the age of 25. One of the undeniable highlights of his small compositional legacy is his Sonata for Piano. Its three movements were written in reverse order in the Terezin concentration camp in 1943; only a three-measure draft of the intended fourth movement has survived.
This first Urtext edition of the piano sonata has been expanded to include the previously unpublished short melodrama "Krajina" (Landscape) (entitled "Topol" / "Poplar" in existing literature) in which the pianist can also take over the recitation part if required. In July 1939, shortly after Klein completed his studies at the conservatory, he composed this setting of the same-named poem by Vilem Zavada (1905-1982) in the style of free atonality. | | |
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| | With a detailed Foreword (Fr/Eng/Ger) on the genesis and performance history
Performing edition based on the Urtext of the "Saint-Saens' Oeuvres instrumentales completes"
Optimum layout in the violin part and piano score |
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| Saint-Saens, Camille | | Sonata no. 1 for Violin and Piano in D minor op. 75 | BARENREITER URTEXT
Editors: Guilloux, Fabien / Medicis, Francois de | | BA 10957 | EUR 31.95 | Score and part | 9790006575466 | The second half of the 19th century represented something of a "Golden Age" of the violin sonata in France: Influential violin sonatas such as those by Franck, Faure and Saint-Saens were among the successful works of this genre, inspiring many further compositions.
Saint-Saens' Violin Sonata no. 1 was incorporated into the repertoire of numerous late 19th-century violinists soon after it was written. It was also this sonata which inspired Marcel Proust when he wrote about the fictional sonata by the composer Vinteuil in his novel "A la recherche du temps perdu".
This performing edition edited by Fabien Guilloux and Francois de Medicis is based on the musical text from "Saint-Saens' Oeuvres instrumentales completes", volume III/4 in which Saint-Saens' lengthy corrections of the Durand first edition as well as the autograph sources have been meticulously evaluated. | | |
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| | Urtext edition of Beethoven's most famous piano trio
Detailed introduction (Eng/Ger), editor's foreword (Eng/Ger) and Critical Commentary (Eng) |
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| Beethoven, Ludwig van | | Trio for Pianoforte, Violin and Violoncello op. 97, "Archduke" | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | BA 10942 | EUR 34.95 | Score with parts | 9790006569977 | By the time Beethoven completed the "Archduke" Trio in 1811 he had been working on it for several years. In April 1814 he could finally give the work its premiere together with Ignaz Schuppanzigh and Joseph Linke, this being Beethoven's last public appearance as a pianist. He dedicated the piece to his friend, pupil and patron, Archduke Rudolph of Austria. Today it numbers among his most celebrated pieces of chamber music, not least because of its remarkable melodiousness – a feature typical of Beethoven's music from these years – and its spacious formal design.
Jonathan Del Mar's new critical edition of the Trio draws not only on early prints but also on various handwritten sources. A detailed introduction by Misha Donat is devoted to the work's historical contexts. | | |
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| | Compilation of the instrumental numbers of all versions of the opera
With an overview of the keys in order to put together tailor-made orchestral suites
Based on the scholarly new edition of all the original versions |
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| Rameau, Jean-Philippe | Zoroastre RCT 62A-B
Opera in five acts, instrumental numbers | | Editor: Sadler, Graham | | BA 8889 | EUR 68.00 | Full score | 9790006575213 | This collection of the instrumental numbers from Zoroastre, a "Tragedie in five acts" includes the movements and dances of all the original versions, i.e. those of January and February 1756 (found in the "Opera Omnia Rameau" volume IV.26, BA08867-01) as well as those of 1749.
Orchestras can compile a suite to meet precisely their own needs. For this purpose, the index includes a separate overview sorted by key. The performance material of the "Symphonies" is available on hire reflecting the high standard of "Opera Omnia"". | | |
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| Schubert, Franz | | Mass in E-flat major D 950 | New Schubert Edition, I/4
Editor: Faber, Rudolf | | BA 5576-01 | EUR 410.00 | Full score, linen-bound | 9790006497430 | | Reduced subscription price available | We know relatively little about the genesis of Schubert's Mass in E-flat major (D 950) which he completed in 1828, a few months before his death. The work was not performed during his lifetime and we can only speculate what might have caused the composer to write this Missa solemnis.
In the preface to this volume of the "New Schubert Edition", editor Rudolf Faber assembles all documented facts. Furthermore, he focuses on the accents, which are such a characteristic element of Schubert's autograph scores, and explains how Schubert used them in a very differentiated manner, in particular in the Mass in E-flat major. In order to do justice to these subtle differences, the New Schubert Edition has introduced a new symbol: an accent which is flexible with regard to its length and which makes it possible to visualize Schubert's sophisticated employment of emphasis and accentuation.
The work is scored for large orchestra (without flutes), chorus, and one soprano as well as two tenors as soloists. In Schubert's autograph the organ is not explicitly called for, but Ferdinand Schubert added an organ part for the posthumous premiere on 4 October 1829 at the Dreifaltigkeitskirche of Vienna Alservorstadt.
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| Schubert, Franz | | Opera Fragments without Titles | New Schubert Edition, II/16
Editors: Jahrmarker, Manuela / Martin, Christine | | BA 5577-01 | EUR 195.00 | Full score, linen-bound | 9790006575671 | | Reduced subscription price available | Schubert's "hapless love of the theatre" manifests itself in this highly interesting volume, which brings together and comments on those opera fragments that did not make it beyond the first draft stage. The degree to which these opera projects remained incomplete varies greatly. These fragments run through Schubert's entire compositional career, just like those stage works that, though still fragmentary, reached a more completed stage but were not performed and have been published in separate volumes in the "New Schubert Edition".
In the course of the preparation of this volume, drafts could be identified and titles were assigned. Included are the fragments of the opera "Wanda" (D 791, previously "Rudiger") and "Sophie" (D 982, title hitherto unknown), which goes back to the opera comique "Une aventure de Saint-Foix" (Paris 1802), as well as in the appendix the libretto "Der kurze Mantel" by Johann Gabriel Seidl, which was included in the edition due to its great documentary value.
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| Janacek, Leos | The Diary of One Who Disappeared
for Tenor, Alto, Three Female Voices and Piano | Complete Critical Edition of the Works of Leos Janacek, B/6
Editor: Zahradka, Jiri | | BA 6869-01 | EUR 152.00 | Full score, linen-bound | 9790260109599 | | Reduced subscription price available | Even though Janacek's song drama "The Diary of One Who Disappeared" is scored for chamber ensemble, the composer's operatic experience is clearly detectable. This work appears in the series "Complete Critical Works of Leos Janacek" (vol. B/6), edited by Jiri Zahradka. The volume includes an expanded preface (compared with the performing edition, BA09575) and a separate edition of the song texts. The beautiful engraving matches that of the performing edition.
During recent years the author of the poems has been identified as Josef Kalda, and we know that the muse of all of Janacek's late works was Kamila Stosslova. "That's why there is so much ardent feeling in this work" (letter of 24 July 1924) . "... With this work I constantly thought of you! You were this Zofka to me!" (letter of 24 December 1927). The renowned editor's research uncovered several new findings.
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| Rameau, Jean-Philippe | Zoroastre RCT 62 B
Opera in five acts. Version from 1756 | Jean-Philippe Rameau. Opera Omnia (OOR), IV/26
Editors: Saint-Yves, Francois / Reperant, Yvon | | BA 8867-01 | EUR 450.00 | Full score, linen-bound | 9790006564163 | | Reduced subscription price available | Rameau's revised version of his opera "Zoroastre", which could be heard and seen between 20 January 1756 and 26 March 1757 at the Academie royale de musique, was favourably received. Also from today's point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark.
The opera includes some of Rameau's most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime "Hymne a la Lumiere", which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this new edition. Incidentally, with "Zoroastre" the prologue, which had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck's opera reform by many years. | | |
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