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The Programme<br />
New Publications<br />
Sheet Music<br />
2/2010<br />
Bärenreiter
The programme at a glance<br />
New Bach Edition – Revised<br />
New Edition of the Complete Works. Revised Edition<br />
(NBA rev ).........................................................................3<br />
Johann Sebastian Bach, Mass in B minor BWV 232<br />
BA 5935, BA 5935-90, TP 1232..................................4–5<br />
Choral Music / Stage Work<br />
George Frideric Handel, Jephtha HWV 70<br />
BA 4014-90..................................................................6<br />
George Frideric Handel, Ottone HWV 15<br />
BA 4077-90..................................................................7<br />
Carl Loewe, Das Sühnopfer des neuen Bundes<br />
BA 7678, BA 7678-90....................................................8<br />
Bedøich Smetana, The Bartered Bride<br />
BA 9534-90..................................................................9<br />
Chamber Music<br />
Johannes Brahms<br />
Sextet in B-flat major op. 18 for 2 Violins, 2 Violas and<br />
2 Violoncelli. BA 9419, TP 419......................................20<br />
Sextet in G major op. 36 for 2 Violins, 2 Violas and<br />
2 Violoncelli. BA 9420, TP 420..................................... 21<br />
Gabriel Fauré<br />
Quatuor à cordes op. 121. BA 7901, TP 412..................22<br />
Trio pour violon, violoncelle et piano op. 120<br />
BA 7902 .....................................................................23<br />
Edward Elgar, Serenade for Strings op. 20<br />
BA 9041......................................................................24<br />
MGG – Die Musik in Geschichte und Gegenwart<br />
ISBN 978-3-7618-1100-9..............................................25<br />
Solo Voice<br />
George Frideric Handel<br />
Opera Arias for Mezzo-Soprano and Contralto.<br />
BA 10253...............................................................10–11<br />
Opera Arias for Tenor. BA 10254.............................10–11<br />
Opera Arias for Bass. BA 10255...............................10–11<br />
Franz Schubert, Die schöne Müllerin op. 25<br />
BA 9117 high voice.................................................12–13<br />
BA 9137 medium voice...........................................12–13<br />
BA 9157 low voice..................................................12–13<br />
Facsimiles<br />
Ludwig van Beethoven, Ode to Joy<br />
ISBN 978-3-7618-2169-5.........................................14–15<br />
Johann Sebastian Bach, Cantata “Allein zu dir,<br />
Herr Jesu Christ“ BWV 33<br />
ISBN 978-3-7618-2201-2.............................................. 16<br />
Book on Music<br />
Bettina Buchmann, The Techniques of Accordion Playing<br />
ISBN 978-3-7618-1930-2.............................................. 17<br />
Strings<br />
The Series “Bärenreiter‘s Easy Concertos“<br />
Oskar Rieding, Concertino in Hungarian Style<br />
BA 8973...................................................................... 18<br />
Vittorio Monti, Czardas. BA 8975................................. 19<br />
Jean Baptiste Accolay, Concerto No. 1 in A minor<br />
BA 8976......................................................................19<br />
Organ<br />
Organ Plus One<br />
BA 8501................................................................ 26–27<br />
Antonio de Cabezón, Selected Organ Works<br />
for Keyboard, Volumes 1–4<br />
BA 9261–BA 9264.......................................................28<br />
Louis Vierne, Complete Organ Works, Volumes I and II<br />
BA 9221, BA 9222.......................................................29<br />
Piano<br />
Louis Vierne, Complete Piano Works, Volume I<br />
BA 9611......................................................................30<br />
Alexander Skrjabin, Complete Piano Sonatas, Volume I<br />
BA 9616......................................................................31<br />
Wolfgang Amadeus Mozart, Fantasia in G minor and Fuga<br />
in G major K. Anh. 32 and 45 / Sonata Movement in<br />
B-flat major K. 42. BA 9638.........................................32<br />
Leoš Janáèek, Capriccio for Piano (Left Hand) and<br />
Wind Ensemble. BA 9535.............................................33<br />
Popular Choral Music<br />
Katrin Ehmer, Max Frey, Stefan Kalmer, Kurt Suttner<br />
Chor aktuell Female Voices. BE 2498............................34<br />
Contemporary Music / Complete Editions<br />
New Publications up to May 2010....................................35<br />
Your Contacts...........................................................36
NBA<br />
New Bach Edition – Revised:<br />
Setting a New Standard for Scholars and Musicians<br />
What distinguishes the New Bach Edition –<br />
Revised?<br />
• Edited by the Bach Archive Leipzig, the<br />
internationally recognised centre for Bach research<br />
• The general editors Christoph Wolff, Uwe Wolf<br />
and Peter Wollny guarantee the highest levels of<br />
scholarship<br />
• The latest research and scientific source examination<br />
form the basis for editorial decisions<br />
• A critical report (Ger) at the end of each volume<br />
facilitates quick reference<br />
• Approximately 15 volumes in revised editions<br />
Please order the brochure<br />
“Johann Sebastian Bach, New Edition of the Complete Works.<br />
Revised Edition (NBA rev )“, SPA 186<br />
Johann Sebastian Bach<br />
New Edition of the Complete Works.<br />
Revised Edition (NBA rev )<br />
• The New Bach Edition (NBA), almost completed and available in<br />
104 music volumes and 101 critical commentaries, is regarded as<br />
a work of musical scholarship of the first rank. The publication of<br />
this immense project stretched over 56 years. However, since the<br />
publication of some of the earlier volumes, new sources have been<br />
discovered and others newly evaluated, new knowledge has been<br />
acquired and further editorial experience amassed. In the interest<br />
of a continued practical and musicological usability of the historical<br />
scholarly-critical complete edition, it is essential to update selected<br />
volumes.<br />
The Bach Archive Leipzig and Bärenreiter have therefore decided to<br />
publish approx. 15 volumes or works in revised editions. The New<br />
Bach Edition – Revised (NBA rev ) resembles the NBA in its outward<br />
appearance, but each volume now contains a more detailed<br />
foreword in German and English, discussing the genesis of the<br />
works and how the sources have come down to us as well as a<br />
concise critical report in German.<br />
The Bach Archive Leipzig is the internationally recognised centre<br />
for Bach research. This guarantees that the New Bach Edition –<br />
Revised will be prepared by first-class editors. Volume by volume,<br />
editions<br />
Johann<br />
of the<br />
Sebastian<br />
highest standard<br />
Bach<br />
will be created for the NBA rev .<br />
Orgelwerke<br />
The volumes of the NBA rev can be purchased individually<br />
or complete Bärenreiter at specially Urtext reduced subscription prices.<br />
Each BA volume 5279 includes a E preface 249,– /(Ger CHF and 448.00 Eng) and a<br />
critical report (Ger). Format 25.5 x 32.5 cm, cloth-bound.<br />
Bereits erschienen<br />
Bärenreiter will be publishing performance material<br />
based on these editions.<br />
The Publication Schedule<br />
Beginning with the Mass in B minor, which will be published<br />
in 2010, approximately 1 to 2 volumes will appear per year.<br />
BA 5935 Mass in B minor (2010)<br />
Retail price: approx. E 249.00<br />
Subscription price: approx. E 199.00<br />
BA 5936<br />
BA 5937<br />
BA 5938<br />
BA 5939<br />
BA 5940<br />
BA 5941<br />
Weimar Cantatas<br />
BWV 31, 132, 143, 161, 172<br />
Chamber Music with Violin<br />
St. John Passion<br />
»O Mensch bewein« (1725)<br />
Organ Chorales I<br />
Pre Weimar Cantatas<br />
BWV 21, 106, 131, 150<br />
St. John Passion<br />
»Herr, unser Herrscher« (1749)<br />
Klavierübung I<br />
Chamber Music with Flute<br />
Motets<br />
Organ Chorales II<br />
Six Suites for Violoncello Solo<br />
Pictorial Documents of J. S. Bach's life<br />
Texts to the Vocal Works · 2 Volumes
NBA<br />
New Insights – New Musicological Findings<br />
bach<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
Messe in h-Moll<br />
Mass in B minor<br />
BWV 232<br />
Klavierauszug / Vocal Score<br />
Bärenreiter<br />
Johann Sebastian Bach<br />
Mass in B minor<br />
• The New Bach Edition (NBA) volume of J. S. Bach’s Mass<br />
in B minor BWV 232 has been the definitive edition for<br />
generations of singers and musicians.<br />
However the Bach Archive Leipzig in conjunction with Bärenreiter<br />
are constantly striving to bring new discoveries of editorial<br />
research to the fore. It is precisely for this reason that a new<br />
revised edition of the Mass in B Minor will now appear. The<br />
Urtext performing edition is based on the first volume of the<br />
new 15 volume series New Bach Edition-Revised (NBA rev ).<br />
Edited by Uwe Wolf, one of the Directors of Research at the<br />
Bach Archive Leipzig, this new edition of the Mass will present<br />
new findings and new insights. For the first time the Dresden<br />
parts of 1733, which were largely written by Bach, are included<br />
as valuable additional source material to the autograph score.<br />
At the same time state-of-the-art scientific methods (x-ray<br />
spectograph) into Bach’s manuscript score shed light on additions<br />
made by C.P.E. Bach and others. The methods also enable<br />
in-depth analysis of areas which have been eroded to a large<br />
extent by ink gall erosion.<br />
“It is tremendously important, this New Bach Edition – Revised<br />
of the Mass in B minor by J. S. Bach! One of the major works by<br />
J. S. Bach is now finally available in a scholarly edition, as it should be.<br />
Congratulations!”<br />
(Ton Koopman)<br />
“Uwe Wolf has undertaken a thorough and careful examination<br />
of all surviving materials by J. S. Bach – manuscripts, paper, ink,<br />
etc. From this we will be able to gain new confidence for the<br />
individual elements of our performances.”<br />
(Masaaki Suzuki, Bach Collegium Japan)<br />
The performance material to the NBA volume<br />
(BA 5102-90) will continue to be published.<br />
Johann Sebastian Bach<br />
Mass in B minor BWV 232<br />
(Missa, Symbolum Nicenum, Sanctus, Osanna,<br />
Benedictus, Agnus Dei et Dona nobis pacem)<br />
Bärenreiter Urtext<br />
Edited by Uwe Wolf<br />
BA 5935-00<br />
Full score, paperback approx. E 76.00<br />
*New Issue<br />
Title<br />
BA 5935-0<br />
(format 25.5 x 32.5 cm)<br />
Full score, cloth bound approx. E 249.00<br />
BA 5935-90<br />
Piano reduction by Andreas Köhs<br />
Vocal score (Latin)* approx. E 12.95<br />
TP 1232<br />
Study score* approx. E 18.50<br />
Full performance material available on sale<br />
To appear in September 2010
*<br />
4a. (4.) Gloria<br />
Vivace<br />
Tromba I in D<br />
E File: B33-174.MUS Project: A&O 6k 20.10.09 File Date: 08-24-*9 Time: 10:39 Print data: 1.08 2.1 2.4 300 3<br />
35<br />
NBA<br />
174<br />
Tromba II in D<br />
Tromba III in D<br />
Bach‘s Mass in B minor in a Revised New Edition<br />
55<br />
Timpani d, A<br />
B33-035.MUS A&O 6k 20.10.09 09:49<br />
SCORE File: Project: File Date: Time: Print data:<br />
08-24-*9 1.08 2.1 2.4 300 3<br />
Flauto traverso I<br />
3<br />
3 3<br />
*<br />
4a. (4.) Gloria<br />
Vivace<br />
Tromba I in D<br />
35<br />
Flauto traverso II<br />
3<br />
Tromba II in D<br />
Tromba III in D<br />
3 3<br />
Timpani d, A<br />
Oboe I<br />
Oboe II<br />
→<br />
Flauto traverso I<br />
Flauto traverso II<br />
Oboe I<br />
Oboe II<br />
Fagotto I, II<br />
3 3<br />
Fagotto I, II<br />
Violino I<br />
3<br />
Violino I<br />
→<br />
The “Dresden Parts“<br />
Valuable information to the readings of the autograph<br />
score of Violino the Missa II can be drawn from the “Dresden<br />
parts” of 1733, largely written by Bach himself.<br />
The different readings of the parts are clearly<br />
differentiated Viola from the readings of the autograph<br />
score B33-174.MUS by the use of passages A&O 6k 20.10.09 printed 08-24-*9 in 10:39 grey. 1.08 2.1 2.4 300 3<br />
SCORE File: Project: File Date: Time: Print data:<br />
→<br />
Violino II<br />
3 3<br />
Viola<br />
Soprano I<br />
Soprano II<br />
Alto<br />
Tenore<br />
Basso<br />
Continuo (bez.)<br />
Violoncello<br />
8<br />
5<br />
2<br />
3<br />
5<br />
4<br />
2<br />
6<br />
6<br />
1743<br />
Soprano I<br />
* In Klammern geben wir die Satznummerierung nach NBA II/1 und II/1a.<br />
55<br />
3<br />
3 3<br />
From: J. S. Bach, Mass in B minor: Gloria · BA 5935 Score<br />
Soprano II<br />
3<br />
3 3<br />
Alto<br />
3<br />
In search of the original state of the autograph<br />
3 3<br />
Tenore<br />
3<br />
manuscript using scientific methods<br />
De i Pa<br />
8<br />
For the first time annotations by J. S. Bach and C. P. E. Bach<br />
tris,<br />
can be differentiated using<br />
a scen<br />
ink analysis (x-ray<br />
dit, a scen<br />
spectrography<br />
dit in<br />
3 Basso<br />
of over 500 places in the score). All corrections, additions and<br />
alterations by Bach’s son and places which remain doubtful<br />
5<br />
3<br />
5<br />
(because 4 of iron gall ink erosion) appear in the edition in<br />
De i Pa tris, 2<br />
2 a scen dit, a scen dit [in<br />
square brackets.<br />
6 6<br />
Continuo (bez.)<br />
Violoncello<br />
3<br />
3 3<br />
3<br />
De iPa Patris, tris,<br />
* In Klammern geben wir a die scen Satznummerierung dit, a scen dit in nach NBA II/1 und II/1a.<br />
a scen dit in<br />
De i<br />
3<br />
3<br />
→<br />
3<br />
De i Pa tris, a scen dit, a scen dit [in<br />
8<br />
De<br />
Pa<br />
i<br />
tris,<br />
Pa tris, a scen dit in coe lum, a scen dit in<br />
De i a scen dit in<br />
8<br />
De i Pa tris, a scen dit in coe lum, a scen dit in<br />
tram De i Pa tris, a scen dit in<br />
tram De i Pa tris, a scen dit in<br />
→<br />
From: J. S. Bach, Mass in B minor: Symbolum Nicenum, Et resurrexit
Choral Music<br />
händel<br />
B ä r e n r e i t e r U r t e x t<br />
Jephtha<br />
HWV 70<br />
Vocal Score<br />
Klavierauszug<br />
Bärenreiter<br />
George Frideric Handel<br />
Jephtha<br />
Oratorio in Three Acts HWV 70<br />
• Jephtha is Handel’s last oratorio. Handel had to break<br />
off from composing several times because of his increasing<br />
blindness in 1751. The first performance at the Covent<br />
Garden Theatre in February 1752 was the last performance<br />
he conducted before he went completely blind.<br />
In Jephtha, Handel succeeded in achieving the perfect fusion<br />
between a biblical plot and the spirit of classical tragedy.<br />
With great intensity and dramatic expression he highlighted<br />
in particular the fates of Jephtha and Iphis, thereby<br />
portraying convincing and complex characters.<br />
The chorus “How Dark, O Lord, are Thy Decrees” at the end of<br />
part two is of crucial importance in the work and is regarded as<br />
the dramatic high point of the oratorio.<br />
• Handel’s last oratorio based on the Urtext<br />
of the Halle Handel Edition<br />
• First critical edition of this work<br />
• Detailed foreword (Ger/Eng)<br />
• Clear straightforward piano reduction<br />
The vocal score is based on volume I/30 of the Halle Handel<br />
Edition (BA 4014) published in 2010, which contains the<br />
complete critical version of the music of the oratorio for<br />
the first time.<br />
George Frideric Handel<br />
Jephtha<br />
Oratorio in Three Acts HWV 70<br />
Bärenreiter Urtext<br />
Edited by Kenneth Nott<br />
Text by Thomas Morell after the Book of Judges from<br />
the Old Testament<br />
New Issue<br />
Title<br />
Vocal score (Eng)<br />
Piano reduction by Martin Focke<br />
BA 4014-90 approx. € 22.95<br />
Performance material available on hire<br />
To appear in November 2010
Choral Music<br />
händel<br />
B ä r e n r e i t e r U r t e x t<br />
Ottone<br />
HWV 15<br />
Klavierauszug<br />
Vocal Score<br />
Bärenreiter<br />
George Frideric Handel<br />
Ottone<br />
Opera in three acts HWV 15<br />
• Handel completed his opera Ottone in August 1722, but the<br />
first performance did not take place until January 1723 in the<br />
Haymarket Theatre, London; the composer had waited so long<br />
for the famous soprano Francesca Cuzzoni who he had in mind<br />
for the role of Teofane. Ottone was an immediate success from<br />
the beginning, not only for its top-class cast but also because of<br />
its formal and musical structure. It received numerous revivals<br />
until 1733.<br />
Stylistically, Ottone follows in the Neapolitan opera tradition<br />
with emotionally charged arias as the principal vehicles of<br />
expression, whilst the plot is carried forward in the secco<br />
recitatives. The dramatic action is interpreted and intensified<br />
through the choice of arias and keys.<br />
• First critical edition based on the Urtext<br />
of the Halle Handel Edition<br />
• Additional numbers from later performances<br />
included in the appendix<br />
• Foreword (Ger/Eng)<br />
The vocal score is based on volume II/12 of the Halle Handel<br />
Edition (BA 4077), which contains the complete critical musical<br />
text of the opera for the first time.<br />
George Frideric Handel<br />
Ottone<br />
Opera in three acts HWV 15<br />
Bärenreiter Urtext<br />
Edited by Fiona Mclauchlan<br />
Vocal score (Eng/Ger)<br />
Piano reduction by Andreas Köhs<br />
BA 4077-90 approx. E 47.95<br />
New Issue<br />
Title<br />
Performance material available on hire<br />
To appear in October 2010
Choral Music<br />
29<br />
29<br />
26<br />
dim.<br />
29<br />
Loewe<br />
B ä r e n r e i t e r U r t e x t<br />
Das Sühnopfer des neuen Bundes<br />
268<br />
8<br />
26<br />
8<br />
8<br />
8<br />
8<br />
dim.<br />
ge von Trä nen, mei nen Fuß vom Glei ten.<br />
dim.<br />
ge von Trä nen, mei nen Fuß vom Glei ten.<br />
dim.<br />
dim.<br />
vom Glei<br />
ten.<br />
dim.<br />
ge von Trä nen, mei nen Fuß vom Glei ten.<br />
vom Glei<br />
ten.<br />
dim.<br />
dim.<br />
ten, mei nen Fuß vom Glei ten.<br />
ten,<br />
vom<br />
mei nen<br />
Glei<br />
Fuß vom Glei<br />
ten.<br />
ten.<br />
dim.<br />
dim.<br />
ten, mei nen Fuß vom Glei ten.<br />
dim.<br />
Klavierauszug<br />
Vocal Score<br />
Bärenreiter<br />
Carl Loewe<br />
Das Sühnopfer des neuen Bundes<br />
Passion Oratorio in three parts<br />
• Loewe’s Passion Oratorio Das Sühnopfer des neuen Bundes<br />
was probably composed in 1847. The work is divided into three<br />
parts, each subdivided into three sections. Each of the resulting<br />
nine scenes corresponds with one of the traditional stations of<br />
the Passion story.<br />
Loewe used the usual forms of recitative, arioso, aria, chorus<br />
and chorale in this work. He nevertheless succeeded in giving<br />
the music an absolutely personal character, yet at the same time<br />
a diversity of expression. Precisely this diversity of expression has<br />
ensured that the oratorio genre has become an important part<br />
of the sacred music repertoire in recent years.<br />
32<br />
32<br />
32<br />
8<br />
8<br />
8<br />
C<br />
Soprano<br />
C<br />
Soprano<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Alto C<br />
Soprano<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Alto<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Tenore<br />
Lo bet den Herrn al le Hei<br />
Lo bet den Herrn al le Hei<br />
Alto<br />
den,<br />
den,<br />
prei set ihn al<br />
prei set ihn al<br />
le<br />
le<br />
Völ<br />
Völ<br />
ker,<br />
ker,<br />
Tenore<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
BassoLo<br />
bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Tenore<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Basso<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Basso Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
Lo<br />
dim.<br />
bet den Herrn al le Hei den, prei set ihn al le Völ ker,<br />
BA 7678a<br />
BA 7678a<br />
BA 7678a<br />
• Urtext edition reflecting the latest research findings<br />
• Clearly presented performance material<br />
• Duration: approx. 120 minutes<br />
This edition takes all available sources into consideration and<br />
offers the complete material for the first time in a practical<br />
performing edition.<br />
Carl Loewe<br />
Das Sühnopfer des neuen Bundes<br />
Passion Oratorio in three parts<br />
Bärenreiter Urtext<br />
Edited by Claudia Mücke<br />
Libretto after Words of the Holy Scripture by<br />
Wilhelm Telschow<br />
*New Issue<br />
Title<br />
BA 7678<br />
Score* approx. E 44,95<br />
Strings each approx. E 5.00<br />
Organ approx. E 7.00<br />
Piano reduction by the composer<br />
Vocal score (Ger)<br />
BA 7678-90* approx. E 16.95<br />
To appear in October 2010
Stage Work<br />
smetana<br />
B ä r e n r e i t e r<br />
Prodaná nevěsta<br />
Die Verkaufte Braut<br />
Klavírní výtah<br />
Klavierauszug<br />
Vocal Score<br />
Bärenreiter<br />
U r t e x t<br />
Bedøich Smetana<br />
Prodaná nevìsta<br />
The Bartered Bride<br />
Comic opera in three acts<br />
• Bedøich Smetana (1824–1884) only began to devote himself<br />
intensively to the project of an original opera in Czech at the<br />
age of 38. The libretto of The Bartered Bride, the second of<br />
Smetana’s nine operas, was written for Smetana by the poet<br />
and journalist Karel Sabina. The subject chosen for the comic<br />
opera was the story of a pair of lovers in the countryside whose<br />
relationship is disapproved of by their parents. It is set during<br />
the festival at a village church anniversary.<br />
The final form of the work, which soon came to be regarded as<br />
a national opera, was preceded by a relatively difficult genesis.<br />
The opera was written between 1863 and 1865 and was<br />
premiered on 30 May 1866 at the Provisional Theatre in Prague,<br />
where the composer’s last version of the work was also<br />
performed in 1870.<br />
This vocal score contains the musical text of the critical edition<br />
of Smetana’s own vocal score. The newly-set edition contains<br />
both Czech and German vocal texts; the German singing<br />
translation is by Kurt Honolka.<br />
<br />
<br />
<br />
<br />
<br />
<br />
& b b<br />
& b b<br />
œ<br />
?<br />
b b<br />
<br />
<br />
∑<br />
œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ<br />
œ<br />
<br />
p <br />
BA 9534 a<br />
• Urtext based on the critical edition of Smetana’s<br />
own vocal score<br />
• A key work of modern Czech opera<br />
. . ˙˙-<br />
<br />
& b b<br />
n œ .<br />
œ œ .<br />
œ<br />
œ<br />
œ<br />
œ .<br />
œ<br />
œ œ . œ<br />
œ<br />
?<br />
b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p <br />
j œ œ œ œ œ œ œ œ œ<br />
• New foreword by Marta Ottlová (Cz/Eng/Ger)<br />
• Includes singing translation by Kurt Honolka (Ger)<br />
The newly-set and revised performance material for the entire<br />
opera, based on the critical edition by František Bartoš,<br />
is available on hire.<br />
The vocal score replaces the old edition AE 112.<br />
œ<br />
51<br />
j<br />
œ<br />
œ œ œ œ œ œ œ<br />
œ<br />
<br />
p <br />
∑ ∑<br />
œ . .<br />
œ œ . œ œ . œ œ . .<br />
œ<br />
R<br />
R<br />
<br />
<br />
œ . œ œ œ œ œ ˙<br />
œ .<br />
œ œ<br />
. œ<br />
œ . œ . œ<br />
œ<br />
œ .<br />
œ . œ<br />
œ<br />
<br />
œ œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ œ<br />
pp <br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
<br />
& b b<br />
<br />
j j j j<br />
œ œ œ œ œ œ<br />
∑<br />
j j j j<br />
œ œ œ œ<br />
<br />
<br />
& b b<br />
<br />
œ .<br />
‰ œ<br />
J J œ <br />
J œ <br />
J œ<br />
œ œ<br />
J J J œ J œ<br />
œ .<br />
r<br />
J<br />
œ œ .<br />
œ<br />
<br />
<br />
<br />
<br />
& b b<br />
j ><br />
<br />
<br />
˙<br />
œ œ<br />
œ œ œ<br />
œ œ œ œ<br />
œ .<br />
œ œ œ œ œ ?<br />
b b œ œ œ œ œ œ œ œ <br />
œ œ œ œ œ œ œ<br />
œ œ œ œ œ œ œ<br />
œ<br />
œ<br />
œ œ œ œ œ œ œ œ<br />
<br />
<br />
& b b<br />
& b b<br />
& b b<br />
?<br />
b b<br />
r r r r j j<br />
œ œ œ œ œ œ<br />
˙<br />
œ .<br />
‰ ∑<br />
<br />
<br />
<br />
˙<br />
œ . .<br />
œ<br />
<br />
œ . œ .<br />
R J œ<br />
œ œ œ œ œ œ<br />
R R R<br />
<br />
<br />
<br />
<br />
<br />
˙<br />
.<br />
œ<br />
œ<br />
œ . œ<br />
œ . œ<br />
œ . œ<br />
.<br />
œ<br />
œ œ œ œ œ œ<br />
œ<br />
œ œ<br />
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ<br />
œ<br />
œ<br />
œ<br />
<br />
Bedøich Smetana<br />
Prodaná nevìsta<br />
The Bartered Bride<br />
Comic opera in three acts<br />
Bärenreiter Urtext<br />
Edited by František Bartoš<br />
Vocal score (Cz/Ger)<br />
BA 9534-90 approx. E 34.95<br />
New Issue<br />
Title<br />
Performance material available on hire<br />
To appear in November 2010
Solo Voice<br />
B13-30.MUS A&O 1k 22.03.10 12:11<br />
SCORE File: Project: File Date: Time: Print data:<br />
03-20-*0 1.00 2.3 3.2 300 3<br />
Händel<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
30<br />
Largo<br />
CORNELIA<br />
Aria “Priva son d’ogni conforto”<br />
Giulio Cesare in Egitto HWV 17<br />
Atto I, Scena IV<br />
Pri va son<br />
d’o gni<br />
con for to, e pur spe me di mo<br />
Opernarien<br />
für Mezzosopran und Alt<br />
Opera Arias<br />
for Mezzo-Soprano and Contralto<br />
8<br />
ri re per me mi se ra non v’è , no , non<br />
Bärenreiter<br />
15<br />
v’è, pri va son d’o gni con for to, e pur spe me<br />
George Frideric Handel<br />
Opera Arias for Mezzo-Soprano and Contralto<br />
• Based on the Bärenreiter vocal scores, these three volumes<br />
contain some of Handel’s best-known arias for mezzo-soprano/<br />
contralto, tenor and bass, together with some less well-known<br />
numbers of equally high musical quality. The arias in these<br />
volumes contain works from Handel’s thirty-year period as an<br />
opera composer in London and give an impression of the variety<br />
of this extensive repertoire. The arias display various distinctive<br />
technical features and are mostly presented with the preceding<br />
recitative or, in a few cases, in the context of an entire scene.<br />
The arias appear in the chronological order of the operas.<br />
The forewords by Donald Burrows contain detailed notes on<br />
Handel’s singers and on the context of the arias of the operas.<br />
22<br />
di mo rir per me mi se ra non v’è, per me mi se<br />
BA 10253<br />
Recitatives and arias (for mezzo-soprano/contralto,<br />
female roles and breeches roles) from: Amadigi, Ariodante,<br />
Ezio, Flavio, Giulio Cesare in Egitto, Lotario, Orlando, Radamisto,<br />
Rinaldo, Rodelinda, Serse (Xerxes), Tamerlano<br />
George Frideric Handel<br />
Opera Arias for Mezzo-Soprano and Contralto<br />
Bärenreiter Urtext<br />
Selected and with a foreword<br />
by Donald Burrows<br />
BA 10253 approx. E 24.95<br />
New Issue<br />
Title<br />
To appear in October 2010<br />
10
Solo Voice<br />
B16-01.MUS A&O 1k 07.04.10 14:18<br />
SCORE File: Project: File Date: Time: Print data:<br />
04-07-*0 1.00 2.3 3.2 300 3<br />
Händel<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
Allegro<br />
Aria “Dell’Iberia al soglio invitto”<br />
Rodrigo HWV 5<br />
Atto I, Scena V<br />
Opernarien<br />
für Tenor<br />
5<br />
Opera Arias<br />
for Tenor<br />
9<br />
GIULIANO<br />
Händel<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
8<br />
Del l’I be ria al so glio in vit to , del l’I<br />
Bärenreiter<br />
Opernarien<br />
14<br />
für Bass<br />
8<br />
be ria al so glio in vit to , re ca pal me e spar ge al lo ri fe steg<br />
Opera Arias<br />
for Bass<br />
18<br />
8<br />
gian<br />
Bärenreiter<br />
BA 10254<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
George Frideric Handel<br />
Opera Arias for Tenor<br />
Recitatives and arias (for tenor) from: Alcina, Ariodante,<br />
Ezio, Lotario, Rodelinda, Rodrigo, Tamerlano<br />
• Based on the Urtext vocal scores of the Halle Handel<br />
Edition<br />
• Detailed forewords (Eng/Ger) by leading Handel<br />
expert Donald Burrows<br />
• Text translations of the Italian arias (Eng/Ger)<br />
George Frideric Handel<br />
Opera Arias for Bass<br />
Recitatives and arias (for bass) from: Ariodante, Deidamia,<br />
Ezio, Giulio Cesare in Egitto, Imeneo, Lotario, Orlando,<br />
Radamisto, Riccardo Primo, Rodelinda, Serse (Xerxes), Tolomeo<br />
You can find the complete contents of these volumes<br />
at www.baerenreiter.com<br />
George Frideric Handel<br />
Opera Arias for Tenor<br />
Bärenreiter Urtext<br />
New Issue<br />
Title<br />
George Frideric Handel<br />
Opera Arias for Bass<br />
Bärenreiter Urtext<br />
New Issue<br />
Title<br />
Selected and with a foreword<br />
by Donald Burrows<br />
BA 10254 approx. E 24.95<br />
Selected and with a foreword<br />
by Donald Burrows<br />
BA 10255 approx. E 24.95<br />
To appear in November 2010<br />
To appear in November 2010<br />
11
Solo Voice<br />
schubert<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
Die schöne Müllerin<br />
Op. 25<br />
Hohe Stimme / High Voice<br />
schubert<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
Die schöne Müllerin<br />
Op. 25<br />
Bärenreiter<br />
Mittlere Stimme / Medium Voice<br />
Franz Schubert<br />
Die schöne Müllerin op. 25<br />
schubert<br />
Bärenreiter<br />
B ä r e n r e i t e r U r t e x t<br />
Die schöne Müllerin<br />
Op. 25<br />
Tiefe Stimme / Low Voice<br />
• The cycle of poems Die schöne Müllerin was originally<br />
written by several authors including Wilhelm Müller, Achim von<br />
Arnim, Luise and Wilhelm Hensel and Ludwig Rellstab. It was<br />
published in its final form in 1820 by Wilhelm Müller in the<br />
collection Sieben und siebzig Gedichte aus den hinterlassenen<br />
Papieren eines reisenden Waldhornisten. At that time the cycle<br />
included 23 poems. Schubert omitted three poems as well as<br />
a prologue and epilogue in his setting, thereby overriding the<br />
irony and pessimistic ending intended by the poet. Schubert’s<br />
composition was published in five books between February<br />
and August 1824.<br />
Bärenreiter<br />
The first lieder in the cycle are happy and composed with a<br />
forward momentum, characteristics which are also reflected in<br />
the virtuoso piano accompaniment. The second part of the song<br />
cycle turns into resignation, melancholy and impotent rage and<br />
is similar to Schubert’s Winterreise in its longing for death.<br />
Franz Schubert<br />
Die schöne Müllerin op. 25<br />
Bärenreiter Urtext<br />
Edited by Walther Dürr<br />
BA 9117 high voice<br />
BA 9137 medium voice<br />
BA 9157 low voice<br />
Price per volume approx. E 11.95<br />
New Issue<br />
Title<br />
To appear in July 2010<br />
BA 9117 BA 9137 BA 9157<br />
12
Solo Voice<br />
1. Das Wandern<br />
*) Mäßig geschwind<br />
Die schöne Müllerin<br />
op. 25<br />
Wilhelm Müller<br />
147<br />
D 795<br />
Oktober 1823 bis März 1824 (?)<br />
Das<br />
Vom<br />
Das<br />
Wan<br />
Was<br />
sehn<br />
1. Das Wandern<br />
dern ist des<br />
ser ha ben<br />
wir auch den<br />
Die schöne Müllerin<br />
op. 25<br />
Wilhelm Müller<br />
147<br />
Mäßig geschwind<br />
D 795<br />
Oktober 1823 bis März 1824 (?)<br />
6<br />
Das Wan dern ist des<br />
Vom Was ser ha ben<br />
Das sehn wir auch den<br />
Mül lers Lust, das<br />
wir’s ge lernt, vom<br />
Rä dern ab, den<br />
Wan<br />
Was<br />
Rä<br />
dern,<br />
ser,<br />
dern,<br />
das<br />
vom<br />
das<br />
Wan dern ist des<br />
Was ser ha ben<br />
sehn wir auch den<br />
Mül lers Lust, das<br />
wir’s ge lernt, vom<br />
Rä dern ab, den<br />
6<br />
11<br />
Mül lers Lust, das Wan<br />
wir’s ge lernt, vom Was<br />
Rä dern ab, den Rä<br />
dern,<br />
ser,<br />
dern,<br />
das<br />
vom<br />
das<br />
Wan dern ist des<br />
Was ser ha ben<br />
sehn wir auch den<br />
Mül lers Lust, das<br />
wir’s ge lernt, vom<br />
Rä dern ab, den<br />
Wan<br />
Was<br />
Rä<br />
dern!<br />
ser!<br />
dern!<br />
Das<br />
Das<br />
Die<br />
muss ein schlech ter<br />
hat nicht Rast bei<br />
gar nicht ger ne<br />
Mül ler sein, dem<br />
Tag und Nacht, ist<br />
stil le stehn, die<br />
nie mals fiel das<br />
stets auf Wan der<br />
sich mein Tag nicht<br />
11<br />
16<br />
Wan<br />
Was<br />
Rä<br />
dern!<br />
ser!<br />
dern!<br />
Das muss ein schlech ter Mül ler sein, dem nie mals fiel das<br />
Das hat nicht Rast bei Tag und Nacht, ist stets auf Wan der<br />
Die gar nicht ger ne stil le stehn, die sich mein Tag nicht<br />
Wan dern ein, das<br />
schaft be dacht, das<br />
mü de gehn, die<br />
Wan<br />
Was<br />
Rä<br />
dern, das<br />
ser, das<br />
der, die<br />
Wan<br />
Was<br />
Rä<br />
dern, das<br />
ser, das<br />
der, die<br />
Wan<br />
Was<br />
Rä<br />
dern, das<br />
ser, das<br />
der, die<br />
Wan<br />
Was<br />
Rä<br />
dern.<br />
ser.<br />
der.<br />
16<br />
*) Original in B-Dur. / Originally written in B major.<br />
BA 9137<br />
BA 9121<br />
Wan dern ein, das Wan dern, das Wan dern, das<br />
schaft be dacht, das Was ser, das Was ser, das<br />
mü de gehn, die Rä der, die Rä der, die<br />
© 1975 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
Wan<br />
Was<br />
Rä<br />
dern, das<br />
ser, das<br />
der, die<br />
Wan dern.<br />
Was ser.<br />
Rä der.<br />
BA 9101<br />
BA 9117 © 1975 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
Contents<br />
1. Das Wandern<br />
2. Wohin?<br />
3. Halt!<br />
4. Danksagung an den Bach<br />
5. Am Feierabend<br />
6. Der Neugierige<br />
7. Ungeduld<br />
8. Morgengruß<br />
9. Des Müllers Blumen<br />
10. Tränenregen<br />
11. Mein!<br />
12. Pause<br />
13. Mit dem grünen Lautenbande<br />
14. Der Jäger<br />
15. Eifersucht und Stolz<br />
16. Die liebe Farbe<br />
17. Die böse Farbe<br />
18. Trockne Blumen<br />
19. Der Müller und der Bach<br />
20. Des Baches Wiegenlied<br />
• Famous song cycle available for the first time<br />
in a separate edition.<br />
• Based on the definitive New Schubert Edition<br />
• Foreword by Walther Dürr discussing the history<br />
of the work’s composition and sources (Ger/Eng)<br />
• With an English translation of the song texts by<br />
Richard Wigmore<br />
Already published:<br />
Franz Schubert<br />
Die schöne Müllerin in a collected volume<br />
(Erlkönig, op. 1 – Schlaflied, op. 24,2)<br />
Schubert Lieder, Volume 1<br />
BA 9101 high voice E 35.95<br />
BA 9121 medium voice E 35.95<br />
BA 9141 low voice E 35.95<br />
13
Ode to Joy<br />
Ludwig van Beethoven · Symphony No. 9 op. 125<br />
With his ninth symphony, Beethoven<br />
ventured into new musical dimensions.<br />
In the final movement, soloists and chorus<br />
join forces with the orchestra and<br />
Schiller’s “Ode to Joy” becomes a global<br />
aspiration, a declaration: “Alle Menschen<br />
werden Brüder! / All mankind becomes<br />
brothers.”<br />
In his commentary the great Beethoven<br />
scholar Lewis Lockwood describes the<br />
plea which Beethoven wanted to deliver<br />
at that time with this work and how views<br />
of this have changed over the centuries.<br />
Jonathan Del Mar, a renowned editor<br />
of Beethoven’s works, comments on<br />
noteworthy passages in the autograph<br />
manuscript and allows the reader to share<br />
in the composer’s working process.<br />
Already the large-format paper which<br />
Beethoven used for some passages makes<br />
the large forces clear. Cuts, sometimes<br />
reversed later, show how he wrestled with<br />
the final version of the musical text and<br />
refined it right down to the last detail.<br />
The history of the autograph manuscript<br />
reflects an episode in German history:<br />
after storage in various places because<br />
of the war, the major parts were returned<br />
to Berlin but were initially divided by<br />
the Berlin Wall and only reunited in 1990.<br />
Martina Rebmann who is the Director<br />
of the Music Department at the Staatsbibliothek<br />
zu Berlin traces this story.<br />
In 1972 the main theme of the last<br />
movement was chosen by the Council<br />
of Europe as the European anthem and<br />
in 1985 it was adopted by the European<br />
Community as its official anthem. In 2001<br />
the manuscript was listed in UNESCO’s<br />
Memory of the World Register.<br />
For the first time the facsimile presents<br />
all the parts of the manuscript including<br />
pages preserved in Bonn and Paris as<br />
well as the trombone and contrabassoon<br />
parts.<br />
14
BÄRENREITER<br />
FACSIMILE<br />
Synonymous with the<br />
highest authenticity<br />
The BÄRENREITER FACSIMILE<br />
seal is used exclusively for<br />
facsimile editions published<br />
by Bärenreiter which meet<br />
the highest demands in both<br />
scholarly and technical terms.<br />
The distinguishing features<br />
include:<br />
› a facsimile in high quality<br />
colour printing<br />
› attractive cover design<br />
› scholarly commentary<br />
Ludwig van Beethoven<br />
Symphony No. 9 op. 125<br />
Facsimile of the<br />
autograph score in the<br />
Staatsbibliothek zu<br />
Berlin – Preußischer<br />
Kulturbesitz, the<br />
Beethoven-Haus Bonn<br />
and the Bibliothèque<br />
nationale de France<br />
With articles by<br />
Lewis Lockwood,<br />
Jonathan Del Mar and<br />
Martina Rebmann<br />
Documenta<br />
musicologica II, 42<br />
422+11 pages of facsimile<br />
and approx. 15 pages<br />
introduction in each<br />
of the three languages<br />
(English/German/<br />
Japanese)<br />
format: 37 x 40 cm<br />
half-linen, hardback<br />
ISBN 978-3-7618-2169-5<br />
approx. 698.00<br />
ISBN 978-3-7618-2169-5<br />
To appear in October 2010<br />
9 783761 821695<br />
15
Facsimile<br />
Johann Sebastian Bach<br />
“Allein zu dir, Herr Jesu Christ“ BWV 33<br />
Cantata for the 13th Sunday after Trinity<br />
• BWV 33 belongs to the unique annual cycle of chorale<br />
cantatas composed by Bach in 1724/25, the second year of<br />
his Leipzig tenure. The cantata is one of the very few works<br />
where all the relevant source materials for the first<br />
performance have been preserved but are kept in various<br />
libraries throughout the world:<br />
The composing score is kept at the Scheide Library in Princeton,<br />
the vocal-instrumental performing parts at the Bach Archive<br />
Leipzig and the original libretto at the Russian National Library<br />
in St. Petersburg.<br />
The facsimile offers invaluable insights into the composer's<br />
workings and the changing conditions for performances<br />
under his direction.<br />
• Published to commorate the 325 th anniversary<br />
of Bach’s birth on 21 March 2010<br />
• Limited edition of 100 copies<br />
• Net proceeds go to the Bach Archive, Leipzig<br />
Johann Sebastian Bach<br />
“Allein zu dir, Herr Jesu Christ“ BWV 33<br />
Cantata for the 13th Sunday after Trinity<br />
Edited by Christoph Wolff and Peter Wollny<br />
Autograph score, original parts, text from 1724<br />
Facsimile series Bachscher Werke und Schriftstücke,<br />
New Series, Volume V<br />
Boxed set of 24 pages (score), 54 pages (parts), 16 pages (text)<br />
and 16 pages (commentary)<br />
ISBN 978-3-7618-2201-2<br />
Introductory price valid until 30.6.2010: E 254.00<br />
Sales price from 1.7.2010 onwards: E 298.00<br />
Already published<br />
16
Book on Music<br />
“This book by Bettina Buchmann is a real boon; it gives not only a<br />
representative overview of the latest instrumental techniques and<br />
forms of expression on the accordion today, but paves the way for<br />
composers and accordionists to compose and perform idiomatically<br />
on the instrument. The author and publisher deserve the highest<br />
recognition for this.”<br />
(Teodoro Anzellotti)<br />
“The accordion has enjoyed a revival in popularity in recent<br />
times – numerous composers have discovered it as a solo instrument,<br />
in chamber music and also for its orchestral sound. I’m really happy<br />
to have this exceptionally clearly laid out book by Bettina Buchmann<br />
by my side as a guide and incentive for my further explorations into<br />
the instrument.”<br />
(Beat Furrer)<br />
Bettina Buchmann<br />
The Techniques of Accordion Playing<br />
• In view of the enormous upswing in popularity that the<br />
accordion has experienced as an avantgarde instrument in the<br />
last decades of the twentieth century, a systematic elaboration<br />
of the latest instrumental techniques and forms of expression,<br />
as well as detailed instructions on how to employ the accordion<br />
have been sorely lacking.<br />
This book explains all the playing techniques, registers as well as<br />
tonal potentials and expressive possibilities of the accordion. It<br />
demonstrates the distinctive elements of these techniques and<br />
in addition, gives composers valuable information concerning<br />
notation.<br />
A CD with examples of sound techniques and excerpts from<br />
the repertoire is included. An extra fold-out chart presents a<br />
full-sized layout of the treble and bass sides, helping composers<br />
to check fingering possibilities.<br />
This long-awaited book will be an essential tool for composers,<br />
performers and teachers.<br />
• Comprehensive description of all relevant playing<br />
techniques on the button accordion<br />
• Practical notation suggestions for composers<br />
• Music examples from important contemporary<br />
works<br />
• CD containing examples of all registration and<br />
playing techniques and excerpts from the repertoire<br />
• Full size, fold-out chart giving the arrangement of<br />
the buttons on the instrument<br />
• Text in two languages (Ger/Eng)<br />
Already published:<br />
Pascal Gallois<br />
The Techniques of Bassoon Playing<br />
ISBN 978-3-7618-1860-2 E 49.95<br />
Carin Levine, Christina Mitropoulos-Bott<br />
The Techniques of Flute Playing<br />
Volume 1: Flute<br />
ISBN 978-3-7618-1595-3 E 44.95<br />
Volume 2: Piccolo, Alto, Bass<br />
ISBN 978-3-7618-1788-9 E 44.95<br />
Peter Veale, Claus-Steffen Mahkopf<br />
The Techniques of Oboe Playing<br />
ISBN 978-3-7618-1210-5 E 54.00<br />
Bettina Buchmann<br />
The Techniques of Accordion Playing<br />
121 pages with CD and fold-out chart; paperback<br />
ISBN 978-3-7618-1930-2<br />
approx. E 59.00<br />
Already published<br />
17
Strings<br />
The series Bärenreiter’s Easy Concertos continues<br />
with three further works from the violin repertoire.<br />
The editions contain a solo violin part and a piano reduction<br />
for the accompanist.<br />
The series is edited by Kurt Sassmannshaus,<br />
the internationally-renowned violin teacher and co-author<br />
of the Sassmannshaus violin school tradition. His forewords<br />
introduce these little gems and include tips for successful<br />
first concerts. The editions form an ideal continuation of<br />
the Sassmannshaus violin school tradition; they can be used<br />
in parallel from the third volume onwards or alongside any<br />
violin method.<br />
The series will be continued and will introduce the student<br />
to more demanding repertoire with an increasing level of<br />
difficulty.<br />
Oskar Rieding’s Concertino op. 21 uses 1 st and 3 rd position<br />
exclusively. Hungarian echoes in the Andante sostenuto on<br />
the high and low strings of the violin and extensive<br />
semiquaver (sixteenth-note) passages in the Allegro<br />
moderato require basic dexterity in the left hand combined<br />
with frequent use of accented bowing in the right hand.<br />
Czardas by Vittorio Monti is a popular as well as a fiery<br />
concert and encore piece. Tonal finesse and the lively<br />
interplay of tempo, dynamic and character changes<br />
constitute its special attraction and offer young violinists,<br />
who are already comfortable in 1 st and 5 th position,<br />
a wealth of possibilities for experimenting.<br />
Jean Baptiste Accolay’s Concerto in A minor is also a<br />
standard work for violin classes. Its fascination lies in its<br />
expressiveness which is created by the simplest technical<br />
means.<br />
Solo Violin<br />
6<br />
9<br />
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12<br />
<br />
15<br />
18<br />
20<br />
mf<br />
BA 8973<br />
Concertino in im ungarischer ungarischen Weise Stil in a-Moll<br />
Concertino in Hungarian Style in A minor<br />
Oskar Rieding, Op. 21<br />
Andante sostenuto<br />
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1<br />
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2<br />
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p<br />
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4<br />
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Oskar Rieding<br />
(1840–1918)<br />
Concertino<br />
in Hungarian<br />
Style op. 21<br />
f<br />
mf<br />
ff<br />
f<br />
f<br />
0 4<br />
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rit.<br />
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molto rit.<br />
<br />
<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
2<br />
2<br />
Already published:<br />
Oskar Rieding<br />
Concerto in B minor op. 35<br />
BA 8971 E 8.00<br />
Friedrich Seitz<br />
Student Concerto No. 2 in G major op. 13<br />
BA 8972 E 8.50<br />
Antonio Vivaldi<br />
Concerto in A minor op. 3 No. 6<br />
BA 8974 E 10.00<br />
Oskar Rieding<br />
Concertino in Hungarian Style<br />
op. 21<br />
Bärenreiter‘s Easy Concertos<br />
Violin part and enclosed<br />
piano accompaniment<br />
BA 8973 approx. € 8.00<br />
To appear in November 2010<br />
New Issue<br />
Title<br />
18
Strings<br />
Solo Violin<br />
8<br />
12<br />
16<br />
Largo<br />
molto rall.<br />
f<br />
Largo<br />
Czardas<br />
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cresc.<br />
p<br />
mf<br />
a piacere<br />
Vittorio Monti<br />
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22<br />
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30<br />
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Allegro moderato<br />
1 1<br />
Concerto Nr. 1 in a-Moll<br />
Concerto Nº 1 in A minor<br />
<br />
3<br />
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Jean Baptiste Accolay<br />
3<br />
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19<br />
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Allegro vivace<br />
a tempo<br />
rall. molto<br />
22<br />
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saltellato alla metˆ<br />
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p<br />
do<br />
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4 2<br />
f p f p<br />
p<br />
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2 3<br />
1<br />
2 4<br />
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3 2 3 1 1<br />
cre<br />
scen<br />
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4<br />
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BA 8975<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
BA 8976<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
Vittorio Monti<br />
(1868–1922)<br />
Czardas<br />
Jean Baptiste<br />
Accolay<br />
(1833–1900)<br />
Concerto No. 1<br />
in A minor<br />
Vittorio Monti<br />
Czardas<br />
Bärenreiter‘s Easy Concertos<br />
Violin part and enclosed<br />
piano accompaniment<br />
BA 8975 approx. € 7.00<br />
New Issue<br />
Title<br />
Jean Baptiste Accolay<br />
Concerto No. 1 in A minor<br />
Bärenreiter‘s Easy Concertos<br />
Violin part and enclosed<br />
piano accompaniment<br />
BA 8976 approx. € 8.50<br />
New Issue<br />
Title<br />
To appear in November 2010<br />
To appear in November 2010<br />
19
Chamber Music<br />
Brahms<br />
B ä r e n r e i t e r U r t e x t<br />
Sextett<br />
für 2 Violinen, 2 Bratschen und 2 Violoncelli<br />
Sextet<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
op. 18<br />
Violino I<br />
Violino II<br />
{<br />
{<br />
Violoncello I<br />
Viola I<br />
Viola II<br />
Violoncello II<br />
Sextett<br />
für 2 Violinen, 2 Violen und 2 Violoncelli<br />
Opus 18<br />
Johannes Brahms<br />
Allegro ma non troppo<br />
°<br />
4<br />
3<br />
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑<br />
4<br />
3<br />
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑<br />
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4 4 4<br />
4<br />
3<br />
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4<br />
3<br />
poco f<br />
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑<br />
4<br />
3 poco f espressivo<br />
4<br />
3<br />
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<br />
{ ¢<br />
poco f<br />
Bärenreiter<br />
9<br />
°<br />
∑ <br />
<br />
∑<br />
poco f<br />
<br />
espressivo<br />
<br />
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poco f<br />
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espressivo<br />
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∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑<br />
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{<br />
{<br />
{ ¢<br />
Johannes Brahms<br />
Sextet in B-flat major op. 18<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
• The two string sextets by Johannes Brahms are amongst<br />
the high points of the Romantic string repertoire and some of<br />
the most popular chamber music works of all.<br />
The new Bärenreiter Urtext editions, edited by Christopher<br />
Hogwood, are the first scholarly-critical editions of these<br />
much-performed works. The editor has taken all known<br />
sources into consideration including the versions for piano two<br />
and four hands which the composer wrote as well as a set of<br />
contemporary performing parts which offer variant readings<br />
and insights into performance practice during Brahms’ lifetime.<br />
{ ° <br />
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cresc.<br />
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cresc.<br />
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{<br />
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cresc.<br />
∑ ∑ ∑ ∑ ∑ ∑ <br />
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poco f <br />
cresc.<br />
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cresc.<br />
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¢ <br />
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{<br />
17<br />
TP 419<br />
cresc.<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
Johannes Brahms<br />
Sextet in B-flat major op. 18<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
Bärenreiter Urtext<br />
Edited by Christopher Hogwood<br />
BA 9419 Parts in slipcover approx. € 32.95<br />
TP 419 Study score approx. € 14.95<br />
To appear in October 2010<br />
New Issue<br />
Title<br />
BA 9419 TP 419<br />
20
Chamber Music<br />
Brahms<br />
B ä r e n r e i t e r<br />
Sextett<br />
für 2 Violinen, 2 Bratschen und 2 Violoncelli<br />
Sextet<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
op. 36<br />
Bärenreiter<br />
U r t e x t<br />
Johannes Brahms<br />
Sextet in G major op. 36<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
{<br />
{<br />
Violoncello I<br />
{<br />
Sextett<br />
für 2 Violinen, 2 Violen und 2 Violoncelli<br />
Opus 36<br />
Johannes Brahms<br />
{ ° Allegro non troppo<br />
3<br />
4 ∑ ∑ <br />
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<br />
p mezza voce<br />
p<br />
4<br />
3<br />
∑ ∑ <br />
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pp<br />
4<br />
3<br />
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{<br />
0 0 0 0 0 0<br />
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pp<br />
4<br />
3 ∑ ∑ <br />
pp<br />
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4<br />
3 ∑ ∑ ∑ ∑ ∑ <br />
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∑<br />
pizz.<br />
pp<br />
3<br />
¢ 4 ∑ ∑ <br />
∑ ∑ ∑ ∑ ∑<br />
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{ ° 9<br />
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∑ ∑<br />
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p<br />
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p<br />
∑ ∑ ∑ ∑ ∑ ∑<br />
arco<br />
∑ ∑ ∑ ∑ <br />
¢ <br />
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{ ° 17<br />
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pp<br />
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pp<br />
arco<br />
pizz. <br />
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pizz.<br />
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¢<br />
∑<br />
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∑ ∑ ∑<br />
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<br />
{<br />
Violino I<br />
Violino II<br />
Viola I<br />
Viola II<br />
Violoncello II<br />
p<br />
• First Urtext editions of these popular chamber music<br />
works<br />
• Include variant readings from contemporary parts<br />
• With facsimile pages<br />
TP 420<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
The study scores to each of these works include facsimile pages,<br />
a foreword (Ger/Eng) and a critical commentary (Eng) on the<br />
work and history of the composition.<br />
Johannes Brahms<br />
Sextet in G major op. 36<br />
for 2 Violins, 2 Violas and 2 Violoncelli<br />
Bärenreiter Urtext<br />
New Issue<br />
Title<br />
Edited by Christopher Hogwood<br />
BA 9420 Parts in slipcover approx. € 32.95<br />
TP 420 Study score approx. € 14.95<br />
To appear in October 2010 BA 9420 TP 420<br />
21
Chamber Music<br />
fauré<br />
B ä r e n r e i t e r<br />
Quatuor à cordes<br />
op. 121<br />
Bärenreiter<br />
U r t e x t<br />
Gabriel Fauré<br />
Quatuor à cordes op. 121<br />
• Gabriel Fauré’s only string quartet which was composed in<br />
1923-24 is the composer’s final work and was written at the<br />
suggestion of his publisher Jacques Durand. Until then, Fauré<br />
had always put off writing a string quartet, evidently because<br />
of Beethoven’s imposing shadow.<br />
When Fauré composed the quartet he was already extremely ill.<br />
He added dynamics and slurs only in some parts of the exposition<br />
of the first movement and then asked his former pupil Jean Roger-<br />
Ducasse to complete the work. Roger-Ducasse’s additions were<br />
however very extensive; he even altered and supplemented<br />
some of Fauré’s own markings in the exposition.<br />
Bärenreiter’s first ever scholarly critical edition of the quartet<br />
utilises all sources including the composer’s letters which<br />
provide valuable insights into the origins of the composition.<br />
In particular, Fauré’s penultimate work, the Piano Trio op. 120,<br />
was used to guide the editor with his emendations.<br />
Violon I<br />
Violon II<br />
Alto<br />
Violoncelle<br />
7<br />
QUATUOR À CORDES<br />
Op. 121<br />
I<br />
Allegro moderato (h = 76)<br />
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mf<br />
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mf<br />
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cresc. f<br />
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f<br />
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21 1<br />
BA 9464<br />
• First scholarly-critical edition of this work<br />
• High-quality Urtext edition based on<br />
the Complete Works of Gabriel Fauré<br />
• Standard repertoire work for every string quartet<br />
• Foreword (Eng/Fr/Ger)<br />
No distribution rights for USA<br />
À Camille Bellaigue<br />
<br />
<br />
mf<br />
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mf<br />
f<br />
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cresc.<br />
f<br />
f<br />
mf<br />
mf<br />
mf<br />
mf<br />
mf<br />
f<br />
© 2010 by Bärenreiter-<strong>Verlag</strong>, Kassel<br />
Gabriel Fauré<br />
Quatuor à cordes op. 121<br />
Bärenreiter Urtext<br />
Edited by James W. Sobaskie<br />
BA 7901<br />
Parts in slipcover approx. E 34.95<br />
TP 412<br />
Study score approx. E 14.95<br />
New Issue<br />
Title<br />
To appear in August 2010<br />
BA 7901 TP 412<br />
22
Chamber Music<br />
16<br />
II<br />
fauré<br />
B ä r e n r e i t e r<br />
Trio<br />
pour violon, violoncelle et piano<br />
op. 120<br />
Bärenreiter<br />
U r t e x t<br />
Gabriel Fauré<br />
Trio pour violon, violoncelle et piano op. 120<br />
• Gabriel Fauré’s Piano Trio, his penultimate work, was<br />
composed in 1922-23 and published in June 1923. The threemovement<br />
work clearly shows Fauré’s ability to combine a<br />
transparent texture with charming and elegant themes.<br />
Until now the composition has always presented musicians with<br />
considerable problems as the score offers conflicting readings<br />
when compared with the separate string parts. Without reliable<br />
information on the different readings, important basic<br />
information for an appropriate interpretation of the work has<br />
been lacking.<br />
Bärenreiter’s first ever critical edition of this masterpiece finally<br />
unites the parts with the score. All variants appear in the critical<br />
commentary to the corresponding complete edition volume of<br />
the Complete Works of Gabriel Fauré.<br />
Andantino q = 60<br />
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mezzo p<br />
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5<br />
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f<br />
cresc.<br />
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f<br />
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cresc. f<br />
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13<br />
Andantino q = 60<br />
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mezzo p<br />
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mezzo p<br />
1 cantando<br />
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mezzo p<br />
m.d. m.g.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
• First scholarly-critical edition of this work<br />
• High-quality Urtext edition based on<br />
the Complete Works of Gabriel Fauré<br />
• Foreword (Eng/Fr/Ger)<br />
mezzo p<br />
<br />
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9<br />
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dim.<br />
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dim.<br />
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dim.<br />
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mezzo p<br />
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No distribution rights for USA<br />
Gabriel Fauré<br />
Trio pour violon, violoncelle et piano op. 120<br />
Bärenreiter Urtext<br />
Edited by James W. Sobaskie<br />
BA 7902<br />
Score with parts approx. E 18.95<br />
New Issue<br />
Title<br />
To appear in August 2010<br />
23
Chamber Music<br />
elgar<br />
B ä r e n r e i t e r U r t e x t<br />
Serenade<br />
für Streicher / for Strings<br />
op. 20<br />
Bärenreiter<br />
Edward Elgar<br />
Serenade for Strings op. 20<br />
• With Christopher Hogwood’s new edition of Elgar’s much<br />
loved Serenade, a scholarly-critical edition of the work is now<br />
available for the first time. As with other Elgar works, modern<br />
editions of the Serenade have always suffered from an enormous<br />
number of inconsistancies between the score and parts and<br />
unclear divisi and unison passages. The editor has clarified these<br />
discrepancies, drawing on Elgar’s version of the work for piano<br />
four hands (the original version) and the recently discovered<br />
autograph manuscript of the first movement.<br />
The edition also contains a facsimile showing the original<br />
ending of the third movement as well as an informative<br />
foreword (Ger/Eng) and a critical commentary (Eng).<br />
• The first scholarly-critical Urtext edition of this<br />
popular work for string orchestra<br />
• Foreword (Ger/Eng) and critical commentary (Eng)<br />
• With facsimile pages<br />
No distribution rights for France, Italy and Spain<br />
Edward Elgar<br />
Serenade for Strings op. 20<br />
Bärenreiter Urtext<br />
Edited by Christopher Hogwood<br />
BA 9041<br />
Score* approx. 13.95<br />
Strings, each approx. 3.50<br />
*New Issue<br />
Title<br />
To appear in September 2010<br />
Score<br />
24
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Organ Plus One<br />
The contents of the editions in this series correspond to the<br />
seasons of the church year which plays an important role<br />
for full-time as well as part-time church musicians.<br />
• Advent / Christmas<br />
• Passiontide / Easter<br />
• Epiphany / Whitsun/Pentecost<br />
• Praise and Thanks<br />
• Services (beginning / end / morning / liturgy)<br />
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• Special services (baptisms / weddings)<br />
Organ Plus One<br />
Advent / Christmas<br />
• Bärenreiter is publishing a new series ORGAN PLUS ONE<br />
and hereby presents a new concept: pieces of easy to moderate<br />
technical difficulty for organ plus any choice of solo instrument.<br />
Each edition contains pieces which are freely-composed or<br />
based on hymn tunes. These pieces are original works or<br />
arrangements. The editions include solo parts for instruments<br />
in C, Bb, Eb and F, which can be played by string, wind and<br />
brass instruments. Attention has been paid that the range for<br />
the solo instruments is in the middle register, making the music<br />
particularly appealing to non-professional church musicians and<br />
instrumentalists.<br />
This concept for flexible instrumentation combined with easy<br />
playability will ensure that all pieces can be easily tackled and<br />
fun to play, be it during church services, musical evening and<br />
small concerts. The wide variety of pieces in attractive idiomatic<br />
arrangements guarantees instant success for both<br />
instrumentalists and organists.<br />
ORGAN PLUS ONE<br />
Advent / Christmas<br />
Edited by Carsten Klomp<br />
Score with parts<br />
BA 8501 approx. € 15.95<br />
New Issue<br />
Title<br />
To appear in September 2010<br />
26
A new concept<br />
2<br />
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• A new concept for organ and any choice<br />
of solo instrument<br />
• Solo parts in C, Bb, Eb and F; ideal for string, wind and<br />
brass instruments<br />
• Pieces of easy to moderate technical difficulty<br />
• Suitable for amateur as well as professional organists<br />
and instrumentalists<br />
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BA8501<br />
BA 8501: Score and solo parts in C, B-flat, E-flat and F<br />
27
Organ<br />
cabezÓn<br />
B ä r e n r e i t e r<br />
U r t e x t<br />
Ausgewählte Werke für Tasteninstrumente<br />
Selected Works for Keyboard<br />
I<br />
Bärenreiter<br />
Antonio de Cabezón<br />
Selected Works for Keyboard<br />
• The court organist Antonio de Cabezón, who was<br />
appointed to Queen Isabella’s court chapel in Toledo at the<br />
young age of 16, was rightly regarded by his contemporaries<br />
as the leading Spanish organist and keyboard player of the 16 th<br />
century. His hymns and versets are based on short, decorated<br />
harmonisations of the psalm tones. In the tientos, the<br />
transformation from vocal motet style to a style of writing<br />
suitable for keyboard instruments is perfectly executed.<br />
• First scholarly-critical edition of selected works by<br />
the leading Spanish organist<br />
• Reflects the latest research findings<br />
• Each volume with a foreword (Ger/Eng) with tips on<br />
editorial technique, critical commentary (Ger/Eng)<br />
and index of sources<br />
This Urtext edition contains a selection of Cabezon’s best<br />
known works and will consist of four volumes. It has been<br />
prepared by two editors working at Portuguese and Spanish<br />
universities who are both leading scholars of the works of<br />
Cabezón and reflects the latest research findings.<br />
Antonio de Cabezón<br />
Selected Works for Keyboard<br />
Bärenreiter Urtext<br />
Edited by Gerhard Doderer and<br />
Miguel Bernal Ripoll<br />
Volume 1: Hymns, Tientos and Versets<br />
BA 9261 approx. € 26.95<br />
Volume 2: Hymns, Versets and Tientos<br />
BA 9262 approx. € 26.95<br />
New Issue<br />
Title<br />
Volume 3: Glosas<br />
BA 9263 approx. € 26.95<br />
Volume 4: Glosas and Diferencias<br />
BA 9264 approx. € 26.95<br />
All 4 volumes<br />
to appear in August 2010<br />
28
Organ<br />
Vierne<br />
B ä r e n r e i t e r U r t e x t<br />
L‘Œuvre d‘Orgue<br />
Complete Organ Works<br />
Sämtliche Orgelwerke<br />
• Evaluation of all available autographs, first printed<br />
editions and previously unpublished letters<br />
• Editorial clarification superseding the long-standing<br />
international correction lists<br />
• Critical commentary (Fr/Eng/Ger) and foreword<br />
(Fr/Eng/Ger) with detailed performance practice tips<br />
• Numerous illustrations and facsimile pages<br />
I<br />
Already published:<br />
Bärenreiter<br />
Louis Vierne<br />
Organ Works<br />
Symphony no. 3 op. 28<br />
Volume III<br />
BA 9223 € 22.95<br />
Louis Vierne<br />
Complete Organ Works, Volumes I and II<br />
• Louis Vierne (1870–1937) studied privately with César Franck<br />
and was appointed titulaire organist at Notre-Dame (Paris) in<br />
1900. Numerous concert tours throughout Europe and the USA<br />
made him famous worldwide. His students included Marcel<br />
Dupré, whose pupil Thierry Escaich has worked on this edition.<br />
Vierne’s organ works are masterpieces of organ music and<br />
occupy a central position in the virtuoso organ repertoire. In<br />
particular, Vierne took the form of the organ symphony to<br />
new stylistic heights and influenced the development of organ<br />
technique worldwide. His six symphonies are masterworks of<br />
the French organ symphony.<br />
Pièces en style libre pour orgue ou harmonium<br />
Volume VIII.1: (Livre I, 1–12) op. 31<br />
BA 9235 € 22.95<br />
Volume VIII.2: (Livre II, 13–24) op. 31<br />
BA 9236 € 24.95<br />
Pièces de Fantaisie en quatre suites<br />
Volume VII.1: (Livre I, 1–6) op. 51<br />
BA 9227 € 19.95<br />
Volume VII.2: (Livre II, 7–12) op. 53<br />
BA 9228 € 22.95<br />
Volume VII.3: (Livre III, 13–18) op. 54<br />
BA 9229 € 22.95<br />
Volume VII.4: (Livre IV, 19–24) op. 55<br />
BA 9230 € 22.95<br />
Masses and individual liturgical works<br />
Volume IX<br />
BA 9237 € 29.95<br />
To appear in August 2010<br />
No distribution rights for France, Italy and Spain<br />
Louis Vierne<br />
Complete Organ Works, Volumes I and II<br />
Bärenreiter Urtext<br />
Edited by Helga Schauerte-Maubouet,<br />
with Thierry Escaich, Jean-Pierre Mazeirat<br />
and Rollin Smith<br />
New Issue<br />
Title<br />
Volume I: Symphony no. 1 op. 14<br />
BA 9221 approx. € 24.95<br />
To appear in December 2010<br />
Volume II: Symphony no. 2 op. 20<br />
BA 9222 approx. € 24.95<br />
To appear in November 2010<br />
29
Piano<br />
Vierne<br />
B ä r e n r e i t e r<br />
L‘ Œuvre de Piano<br />
Complete Piano Works<br />
Sämtliche Klavierwerke<br />
I<br />
Bärenreiter<br />
U r t e x t<br />
Louis Vierne<br />
Complete Piano Works, Volume I<br />
• Louis Vierne was a celebrated organist but throughout his<br />
life he was also a keen pianist and composer of piano music.<br />
He had a particular feeling for the tonal finesse and riches the<br />
instrument offered. The pieces in this volume, which include<br />
some works published for the first time, date from Vierne’s early<br />
years and are in the tradition of the Romantic character piece.<br />
In both their harmonic language and their elegant feeling for<br />
sonority, they reveal Vierne’s individual musical language.<br />
These pieces are mainly of medium technical difficulty and<br />
are therefore suitable for a broader spectrum of pianists.<br />
The editor, Brigitte de Leersnyder, is a pianist and piano teacher.<br />
She has researched Louis Vierne’s piano music for many years<br />
and has published a comprehensive and highly-regarded<br />
monograph on the composer.<br />
• Scholarly-critical Urtext edition based on all available<br />
sources<br />
• First publication of previously unknown<br />
compositions<br />
4<br />
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8<br />
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12<br />
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16<br />
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Allegro (h = 96)<br />
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• Comprehensive critical commentary (Fr/Ger/Eng)<br />
including numerous facsimile pages<br />
• Detailed foreword (Fr/Ger/Eng) on the genesis<br />
of the works and on performance practice<br />
Already published:<br />
f<br />
Louis Vierne<br />
Complete Piano Works<br />
À Mademoiselle Juliette Toutain<br />
SUITE BOURGUIGNONNE<br />
Sept pièces pour piano<br />
op. 17<br />
1. Aubade<br />
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poco cresc.<br />
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cresc. molto<br />
ff<br />
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Volume III: The Last Works (1916–1922)<br />
BA 9613 € 28.95<br />
No distribution rights for France, Italy and Spain<br />
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Louis Vierne<br />
Complete Piano Works, Volume I<br />
Bärenreiter Urtext<br />
Edited by Brigitte de Leersnyder<br />
BA 9611 approx. € 28.95<br />
New Issue<br />
Title<br />
To appear in November 2010<br />
30
Piano<br />
Skrjabin<br />
B ä r e n r e i t e r<br />
Sämtliche Klaviersonaten I<br />
Complete Piano Sonatas I<br />
Bärenreiter<br />
U r t e x t<br />
Alexander Skrjabin<br />
Complete Piano Sonatas, Volume I<br />
• The piano sonatas are regarded as the central works of<br />
Alexander Skrjabin’s compositional output. No other composer<br />
after Beethoven reshaped this genre so radically, thereby<br />
reinvigorating the tradition of the sonata. Skrjabin’s desire not<br />
simply to continue the existing tradition, but to surpass it, is<br />
evident as early as his first sonatas. These are exciting works<br />
from the pianist’s perspective and in their abundance of<br />
expression and wealth of imagination. Up to the third sonata<br />
Skrjabin developed a distinctive feeling for structural coherence<br />
and cyclical unity which at the same time revealed poetic qualities.<br />
This volume contains the earlier works; sonatas officially<br />
published during the composer’s lifetime as No. 1 op. 6, No. 2<br />
(Sonate-Fantaisie) op. 19 and No. 3 op. 23 as well as the<br />
sonatas written during his youth, in G-sharp minor (1886) and<br />
E-flat minor (1887-89). The edition also includes the virtually<br />
unknown fragment of a sonata in C-sharp minor (1887) and<br />
the reconstructed parts of a sonata in G-sharp minor (1892)<br />
never previously published.<br />
The editor Christoph Flamm draws on autograph manuscripts,<br />
first printed editions and on Russian editions of the 1920s to<br />
which he had access via personal contacts.<br />
3<br />
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Sonate Nr. 1<br />
op. 6<br />
I<br />
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Allegro con fuoco q. = 104<br />
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For the first time the recordings of Sonatas nos. 2 and 3 which<br />
Skrjabin made in 1908 on paper rolls for the Hupfeld company,<br />
Leipzig are also taken into account.<br />
• Urtext edition reflecting the latest scholarship and<br />
taking previously unknown sources into account<br />
• Includes all fragmentary works, some published for<br />
the first time<br />
• Detailed foreword (Ger/Eng) and critical commentary<br />
(Eng)<br />
No distribution rights for France, Italy and Spain<br />
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<br />
Alexander Skrjabin<br />
Complete Piano Sonatas, Volume I<br />
Bärenreiter Urtext<br />
Edited by Christoph Flamm<br />
BA 9616 approx. € 32.95<br />
New Issue<br />
Title<br />
To appear in December 2010<br />
31
Piano<br />
• Urtext of the New Mozart Edition<br />
mozart<br />
B ä r e n r e i t e r U r t e x t<br />
Fantasie g-Moll und Fuge G-Dur<br />
Fantasia in G minor and Fuga in G major<br />
Sonatensatz B-Dur<br />
Sonata Movement in B-flat major<br />
KV Anh. 32 und 45, 42<br />
• Reconstructions of Mozart fragments in a practical<br />
performing edition<br />
• Foreword (Ger/Eng) and numerous facsimiles<br />
• Valuable addition to Mozart’s repertoire<br />
for two pianos<br />
Already published:<br />
Bärenreiter<br />
Wolfgang Amadeus Mozart<br />
Fantasia in G minor and Fuga in G major<br />
K. Anh. 32 and 45 /<br />
Sonata movement (Grave and Presto)<br />
in B-flat major K. 42 for two pianos<br />
• Of Mozart’s many fragmentary works, it is the Requiem<br />
which stands out, but there are many other fragments in his<br />
large compositional output which can ideally be used as a basis<br />
for a reconstruction. In the case of these two reconstructions<br />
for two pianos, the editor has drawn on thematically suitable<br />
fragments from Mozart’s piano sole repertoire and has arranged<br />
them for two pianos. In this way reconstructions are achieved<br />
which are based solely on authentic material. The result of this<br />
creative exercise is two new, highly effective concert works for<br />
two pianos, offering a valuable addition to Mozart’s two<br />
existing works for this combination.<br />
Wolfgang Amadeus Mozart<br />
Complete works for two pianos<br />
Sonata K. 448 / Fugue K. 426<br />
Urtext with fingerings<br />
Appendix I, Fragments:<br />
Larghetto and Allegro K. deest = Fr 1781f<br />
Grave and Presto K. Anh. 42 = Fr 1782b /<br />
Sonata movement K. Anh. 43 = Fr 1782c<br />
Allegro K. Anh. 44 = Fr 1785d /<br />
Fugue K. Anh. 45 = Fr 1785a<br />
Appendix II: Adagio K. 546, arrangement for two pianos<br />
by Michael Töpel<br />
BA 9161 € 22.95<br />
The editor took Abbé Maximilian Stadler's sensitive reconstruction<br />
of Mozart’s fragmentary Larghetto and Allegro in E-flat major<br />
for two pianos (K. deest) as a model for his reconstructions.<br />
Wolfgang Amadeus Mozart<br />
Fantasia in G minor and Fuga in G major<br />
K. Anh. 32 and 45 / Sonata movement (Grave and<br />
Presto) in B-flat major K. 42 for two pianos<br />
New Issue<br />
Title<br />
Bärenreiter Urtext<br />
Edited and completed by Michael Töpel<br />
BA 9638 approx. € 16.95<br />
To appear in October 2010<br />
32
Piano<br />
Janácek<br />
›<br />
B ä r e n r e i t e r U r t e x t<br />
Capriccio<br />
pro klavír (levou rukou)<br />
a soubor dechových nástrojů<br />
for Piano (Left Hand)<br />
and Wind Ensemble<br />
für Klavier (linke Hand)<br />
und Bläserensemble<br />
Partitura a hlasy<br />
Score and Parts<br />
Partitur mit Stimmen<br />
Bärenreiter<br />
Leoš Janáèek<br />
Capriccio pro klavír (levou rukou)<br />
a soubor dechových nástrojù<br />
Capriccio for Piano (Left Hand)<br />
and Wind Ensemble<br />
• One of Leoš Janáèek’s last chamber music works was written<br />
in the autumn of 1926 at the suggestion of the pianist Otakar<br />
Hollmann (1894–1967), an invalid from the First World War. Like<br />
his contemporary Paul Wittgenstein, Hollmann urged composers<br />
to write something for piano left hand; he succeeded in winning<br />
over Bohuslav Martinú, Erwin Schulhoff and Janáèek to do this.<br />
Janáèek did not want, as he put it, to compose a “dance for one<br />
leg”, but finally wrote a four-movement work with associations<br />
to military music, scored for piano, flute (piccolo), two trumpets,<br />
three trombones (preferably valve trombones because of the<br />
fast passages) and a tenor tuba. The French horn was allowed<br />
by the composer to substitute the tuba. The Capriccio was<br />
premiered by Otakar Hollmann and members of the Czech<br />
Philharmonic in Prague on 2 March 1928 in the presence of the<br />
enthusiastic composer.<br />
• Urtext based on the Critical Complete Edition of the<br />
Works of Leoš Janáèek<br />
• New foreword (Cz/Eng/Ger) by the editor Jarmila<br />
Procházková<br />
• Includes additional part for French horn<br />
The new edition is based on volume E/5 of the Critical Complete<br />
Edition of the Works of Leoš Janáèek.<br />
Leoš Janáèek<br />
Capriccio pro klavír (levou rukou)<br />
a soubor dechových nástrojù<br />
Capriccio for Piano (Left Hand)<br />
and Wind Ensemble<br />
Bärenreiter Urtext<br />
Edited by Leoš Faltus and Jarmila Procházková<br />
New Issue<br />
Title<br />
Score and parts<br />
BA 9535 approx. € 44.95<br />
To appear in November 2010<br />
33
Popular Choral Music<br />
Solveigs Lied<br />
S 1<br />
S 2<br />
<br />
<br />
<br />
Andante V = 72<br />
oh<br />
<br />
<br />
oh<br />
M.: Edvard Grieg (1843–1907)<br />
norweg. T.: Henrik Ibsen (1828–1906)<br />
dt. T.: Christian Morgenstern (1871–1914)<br />
Arr.: Carl-Bertil Agnestig<br />
f<br />
<br />
<br />
M 1<br />
M 2<br />
<br />
pp<br />
<br />
oh<br />
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A 1<br />
A 2<br />
<br />
pp<br />
<br />
oh<br />
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7<br />
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<br />
1. Kan -<br />
2. Gud<br />
pp<br />
p<br />
unis.<br />
1. Der Win - ter mag schei-den,<br />
der<br />
2. Gott hel - fe dir, wenn du die<br />
<br />
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<br />
ske vil der gå bå - de<br />
styr - ke dig, hvor du i<br />
<br />
<br />
m<br />
<br />
<br />
<br />
p<br />
<br />
bom<br />
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bom bom bom<br />
<br />
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m<br />
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Katrin Ehmer, Max Frey,<br />
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Chor aktuell Female Voices<br />
• Chor aktuell has been an extremely successful series in<br />
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the Christmas period or songs which deal with love.<br />
The editors are well-known and experienced choral directors<br />
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which includes many of their own frequently-sung arrangements.<br />
11<br />
<br />
<br />
<br />
Früh<br />
Son<br />
Vin<br />
Ver<br />
-<br />
-<br />
-<br />
-<br />
ling<br />
ne<br />
ter<br />
den<br />
ver - gehn, der<br />
noch siehst, die<br />
og<br />
Vår,<br />
går,<br />
bå - de<br />
i<br />
bom<br />
bom<br />
i Ver - den går...<br />
<br />
<br />
bom<br />
bom<br />
der Früh - ling ver - gehn<br />
die Son - ne noch siehst<br />
from: Peer Gynt<br />
© 1993 by Musikk-Husets Forlag A/S, Oslo. Printed with permission.<br />
> TÜ<br />
BE 2498<br />
• 72 songs in many musical styles for female voices<br />
(SSAA and SMA)<br />
• International repertoire including songs from<br />
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• Medium technical difficulty<br />
• Gospel, pop, folklore, avantgarde<br />
• Ideal for amateur choirs and schools<br />
Früh<br />
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Distribution rights only for Europe<br />
bå<br />
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Chor aktuell Female Voices<br />
BE 2498 approx. € 19.95<br />
New Issue<br />
Title<br />
To appear in August 2010<br />
34
Contemporary Music / Complete Editions<br />
New Publications up to May 2010<br />
Contemporary Music<br />
Beat Furrer<br />
XENOS III<br />
for percussion and strings<br />
BA 9774, Performance material available on hire<br />
Beat Furrer<br />
WÜSTENBUCH<br />
Music theatre after texts by Händl Klaus,<br />
Ingeborg Bachmann, Antonio Machado,<br />
Lucretius and from the Papyrus Berlin 3024<br />
BA 9746, Performance material available on hire<br />
Philipp Maintz<br />
MALDOROR<br />
Opera in seven scenes after the “chants<br />
de maldoror“<br />
Libretto by Thomas Fiedler<br />
BA 9745, Performance material available on hire<br />
Matthias Pintscher<br />
songs from Solomon’s garden<br />
for baritone and chamber orchestra<br />
BA 9772, Performance material available on hire<br />
occultation<br />
for solo trumpet, solo horn and ensemble,<br />
part three from “sonic eclipse“<br />
BA 9777, Performance material available on hire<br />
Charlotte Seither<br />
Beschriftung der Tiefe von innen<br />
for 18 players<br />
BA 9769, Performance material available on hire<br />
Manfred Trojahn<br />
Moderato. Sinfonischer Satz für Orchester<br />
Überschreibung II. Zustand<br />
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Zwei Orchesterstücke<br />
BA 9770, Performance material available on hire<br />
La tomba di Paganini<br />
for orchestra (five-movement version)<br />
BA 9715, Performance material available on hire<br />
Complete Editions<br />
Johann Sebastian Bach<br />
New Edition to the Complete Works<br />
“New Bach Edition“<br />
Series IX, Vol. 4: Complete Index<br />
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BA 5297<br />
Das deutsche Kirchenlied<br />
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General Editor: Joachim Stalmann, edited by Hans-Otto Korth<br />
BA 8366<br />
Christoph Willibald Gluck<br />
Complete Works<br />
Series IV, Vol. 11: L’Arbre enchanté (2nd version)<br />
Edited by Bruce Alan Brown<br />
BA 5806<br />
George Frideric Handel<br />
Halle Handel Edition, Series I, Vol. 23<br />
Occasional Oratorio<br />
Edited by Merlin Channon<br />
BA 4089<br />
Monumenta Monodica Medii Aevi<br />
Subsidia Vol. VI<br />
Ordinariums-Gesänge in Mitteleuropa/<br />
Chants from the Ordinary of the Mass<br />
in Central Europe<br />
Repertoire overview and catalogue of melodies<br />
Edited by Gábor Kiss<br />
BA 5276<br />
Works of ∙ Opere di Gioachino Rossini<br />
Petite Messe solennelle<br />
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BA 10501-01 Score<br />
BA 10501-40 Critical Commentary<br />
Franz Schubert<br />
New Edition of the Complete Works,<br />
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Edited by Christine Martin<br />
BA 5557<br />
Series IV, Vol. 8: Lieder<br />
Edited by Walther Dürr<br />
BA 5564<br />
Georg Philipp Telemann<br />
Musical Works, Vol. 47: Essercizii musici<br />
Edited by Klaus Hofmann<br />
BA 5857<br />
35
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36