| | 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. 2 in E-flat major for Violin and Piano op. 102 | BARENREITER URTEXT
Editors: Guilloux, Fabien / Medicis, Francois de | | BA 10958 | EUR 28.95 | Score with part | 9790006575473 | 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. 2 was written in 1896 during a stay of several months by the composer in Egypt: he began the main themes of all four movements as well as the canonic trio in Luxor and Aswan. The sonata was then completed on the Nile journey back to Cairo. That same year the sonata was premiered by Saint-Saens and Pablo Sarasate in a concert celebrating the composer's fiftieth stage anniversary. Astoundingly, he had first appeared on stage when he was only ten years old. | | |
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| | Authentic version based on a newly rediscovered source
Foreword by Dvorak biographer David R. Beveridge (Eng/Cz/Ger)
Critical Commentary (Eng) by the editor |
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| Dvorak, Antonin | | Nocturne in B major for String Orchestra op. 40 | BARENREITER URTEXT
Editor: Hajek, Jonas | | BA 11564 | EUR 29.50 | Full score | 9790260109148 | The discovery of a lost source to Antonin Dvorak's "Nocturne" in B major op. 40 provides new insights into the genesis of the composition and the composer's intended final form of this lyrical little piece for string orchestra.
The musical material of what was later to be named "Nocturne" was initially elaborated in the String Quartet in E minor; subsequently it was used in the original version of the String Quintet in G major as its second movement. However Dvorak then extracted it again, expanding and editing it afresh. The final result was the "Nocturne" for string orchestra (two violins, viola, violoncello, double bass). The first edition was published by Bote & Bock in 1883.
The authorized second copy of the work that had served as a template for the first printing was discovered by the editor Jonas Hajek in a privately owned collection. This enabled him to resolve the several ambiguities caused by the existence of multiple versions and to unveil the authentic "Nocturne". | | BA11564-74 | Violin I | EUR 2.50 | Minimum order quantity: 4 copies |
| | BA11564-75 | Violin II | EUR 2.50 | Minimum order quantity: 4 copies |
| | BA11564-79 | Viola | EUR 2.50 | Minimum order quantity: 3 copies |
| | BA11564-82 | Violoncello | EUR 2.50 | Minimum order quantity: 2 copies |
| | BA11564-85 | Double bass | EUR 2.50 | Minimum order quantity: 2 copies |
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| | Urtext of the Complete Edition "Joseph Haydn Works" published by G. Henle Verlag
Orchestral parts in a large format (25.5 cm x 32.5 cm) |
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| Haydn, Joseph | | Symphony in C minor Hob. I:52 | BARENREITER URTEXT
Editors: Friesenhagen, Andreas / Wilker, Ulrich / Harasim, Clemens | | BA 10990 | EUR 35.50 | Full score | 9790006575619 | | Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob. I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob. I:44 ("Mourning", BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller's journal "Musikalische Nachrichten und Anmerkungen" of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. | | BA10990-74 | Violin I | EUR 7.95 | Minimum order quantity: 4 copies |
| | BA10990-75 | Violin II | EUR 7.95 | Minimum order quantity: 4 copies |
| | BA10990-79 | Viola | EUR 7.95 | Minimum order quantity: 3 copies |
| | BA10990-82 | Violoncello/Double bass | EUR 7.95 | Minimum order quantity: 4 copies |
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| Telemann, Georg Philipp | | Twelve Fantasias for Viola da Gamba without Bass arranged for Flute solo TWV 40:26–37 | | Arranger: Rotzsch, Leona | | BA 8739 | EUR 15.95 | Performance score | 9790006575756 | Georg Philipp Telemann composed thirty-six fantasias for solo instrument: twelve each for traverse flute, violin, and viola da gamba. While those for flute and violin belong to Telemann's most popular works today, the fantasias for viola da gamba were unknown throughout much of recent history until a copy of these fantasias was rediscovered in 2015.
For this edition, flautist Leona Rotzsch arranged the viola da gamba fantasias for solo flute, thereby complementing Telemann's flute fantasias with another set of twelve. Carefully retaining Telemann's tonal language, these viol works were made accessible for the flute by use of transpositions, diminutions, and broken chords. | | |
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| | Rediscovered almost 50 years after its composition, posthumous publication
Important contribution to the solo repertoire for the alto instrument in the oboe family
Intense music, rich in colours, and of moderate difficulty |
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| Stranz, Ulrich | | Deja vu for Oboe d'amore (A) | |
| BA 11475 | EUR 9.95 | Performance score | 9790006574858 | | For many years the manuscript of “Deja vu” slumbered in the music library of oboist Hansjorg Schellenberger (former solo oboist of the Berlin Philharmonic) before it was rediscovered last year. Ulrich Stranz composed this solo work for Oboe d’amore, the alto instrument in the oboe family, at the end of his student years in 1974 as the nucleus of his later identically named concert piece (BA06292-72). The dedicatee Hansjorg Schellenberger refers to it as a “masterwork” and “an important enrichment of the repertoire of oboists”. | | |
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| Haas, Pavel | | Wind Quintet op. 10 | BARENREITER URTEXT
Editor: Simon, Robert | | BA 11524 | EUR 30.95 | Set of parts | 9790260109025 | | TP 524 | EUR 24.95 | Study score | 9790260109018 |
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| | First Urtext edition
Popular work for wind quintet
Includes a Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) |
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Pavel Haas (1899-1944), one of Leos Janacek's most talented pupils, composed his Wind Quintet op. 10 in 1929. This work was issued by the Prague publisher Edition Sadlo in 1934 and is one of the few compositions that was printed during his lifetime. Its first performance took place in Brno on 24 March 1930. With its relative brevity and standard instrumentation, it is currently gaining in popularity among wind ensembles.
This first Urtext edition of the Wind Quintet is based on the original print which was proofread by the composer in 1935, as well as the autograph score and a copyist's manuscript. It is the second edition to appear as part of the series "Terezín Composers". | | | | |
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| | Guitar pieces by ten renowned composers from the Czech Republic, Germany and Poland
For advanced beginner guitar students
Includes a short Foreword (Cz/Eng/Ger) on the background of the edition
Recordings of the compositions available on the Barenreiter website at: https://www.baerenreiter.com/moreinfo/H8058 under Multimedia |
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| Playing with Rhythm | 10 Pieces for Guitar
Editor: Liederhaus, Nikola | | H 8058 | EUR 9.50 | 9790260109568 | Rhythm is a challenge for many guitar students and is only treated marginally in current pedagogical guitar literature. Precisely this subject is now addressed in the album "Playing with Rhythm" which was created in cooperation with the Prague Guitar Forum festival. The small compositions written by renowned guitar teachers, composers and guitarists develop the rhythmic feeling of budding guitarists in an original way while conveying the joy of music making.
Composers: Milan Zelenka, Frantisek Lukas, Jule Malischke, Pavel Steidl, Stepan Rak, Katja Wolf, Stefan Schmidt, Milos Orson Stedron, Tomas Ille, Tatiana Stachak. | | |
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| New Complete Edition “Giuseppe Tartini - Edizione nazionale delle opere musicali” |
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The “Giuseppe Tartini - Edizione nazionale delle opere musicali” marks the start of a new Barenreiter Complete Edition. It offers the entire musical Œuvre of one of the most famous 18th-century composers, instrumentalists and pedagogues, mentor to more than one hundred students from all over Europe.
The edition is based, for the first time, on a comparison of all extant sources: autographs, authorized prints, as well as copies produced under the supervision of the composer or within his circle. Straight-forward editorial guidelines ensure reliable musical texts, the result of scholarly-critical research at the cutting edge of musicology taking into account historically informed performance practice.
Apart from the many works for violin, violoncello, and transverse flute, for both chamber and orchestral ensembles, the edition encompasses hitherto largely unpublished vocal music for liturgical or other devotional purposes. The first volume of a series devoted to Tartini’s important didactic works contains the famous “Arte dell’arco” (with 19 previously unpublished variations), another volume the “Treatise on Embellishments,” and a third, embellished versions of sonata and concerto movements.
You can find more information about the series in our full colour flyer. |
A total of approximately 25 volumes will be published, divided into seven series:
Series I: Musica sacra e devozionale
Series II: Sonate per violino solo, con e senza il basso
Series III: Sonate a tre
Series IV: Sonate a quattro
Series V: Concerti
Series VI: Opere e fonti per la didattica
Series VII: Trascrizioni d’epoca per altri strumenti
Each volume of the bilingual edition (Italian/English) contains an Introduction, remarks on performance practice, facsimiles of selected sources or historical documents, the critically edited musical text, appendices where appropriate, as well as a Critical Commentary (Italian only) with a description of the relevant sources and detailed notes. Format 25.5 cm x 32.5 cm, linen. |
| | Linen-bound full score
XXII, 56 pp., format: 33 cm x 26.5 cm |
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| Tartini, Giuseppe | | L’arte dell’arco | Complete Edition of the Musical Works by Giuseppe Tartini, VI/1
Editor: Cossu, Matteo | | BA 11673-01 | EUR 105.00 | Full score - linenbound | 9790006569564 | | Reduced subscription price available | "L'arte dell'arco" ("The Art of Bowing") is the first volume of the “Complete Edition of the Musical Works by Giuseppe Tartini". It is a fundamental work for the understanding of Giuseppe Tartini and of his analytical mindset. "L'arte dell'arco" refers to a series of variations on a gavotte from Sonata no. 10 from Arcangelo Corelli's 12 Violin Sonatas Op. V. The title of the collection can hardly be attributed to Tartini since it derives from a non-authorized "first edition" by Charles-Nicolas Le Clerc, published in Paris in 1757. Today, thanks to the research by many musicologists and in particular by the editor Matteo Cossu, we know much more about this fundamental collection than ever before, particularly concerning the attribution problems of various groups of variations.
The first critical edition of "L'arte dell'arco" includes, besides the music edition and a corresponding Critical Report on the sources and detailed editorial decisions, a historical introduction as well as aspects of reception history and performance practice. The Appendices offer, among others, 19 previously unpublished variations. | | | | |
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To our customers in the U.S.:
Our new US Webshop enables you to search our editions easily and order them from within the U.S. in U.S. Dollars. Inventory is stocked meaning most orders will be shipped within 24 hours.
www.barenreiter.us
Of course, you can also continue to order Barenreiter editions from your favorite U.S. music retailer or from us directly. |
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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