Bärenreiter The Programme New Publications Sheet Music 2/2010

The Programme 

New Publications 

Sheet Music 

2/2010 

Bärenreiter

The programme at a glance 

New Bach Edition – Revised 

New Edition of the Complete Works. Revised Edition 

(NBA rev ) ........................................................................3 

Johann Sebastian Bach, Mass in B minor BWV 3 

BA 5935, BA 5935-90, TP 3 .................................4–5 

Choral Music / Stage Work 

George Frideric Handel, Jephtha HWV 70 

BA 40 4-90 ..................................................................6 

George Frideric Handel, Ottone HWV 5 

BA 4077-90 ..................................................................7 

Carl Loewe, Das Sühnopfer des neuen Bundes 

BA 7678, BA 7678-90 ...................................................8 

Bedøich Smetana, The Bartered Bride 

BA 9534-90 ..................................................................9 

Solo Voice 

George Frideric Handel 

Opera Arias for Mezzo-Soprano and Contralto. 

BA 0 53 .............................................................. 0– 

Opera Arias for Tenor. BA 0 54 ............................ 0– 

Opera Arias for Bass. BA 0 55 .............................. 0– 

Franz Schubert, Die schöne Müllerin op. 5 

BA 9 7 high voice ................................................ – 3 

BA 9 37 medium voice ........................................... – 3 

BA 9 57 low voice ................................................. – 3 

Facsimiles 

Ludwig van Beethoven, Ode to Joy 

ISBN 978-3-76 8- 69-5 ........................................ 4– 5 

Johann Sebastian Bach, Cantata “Allein zu dir, 

Herr Jesu Christ“ BWV 33 

ISBN 978-3-76 8- 0 - ............................................. 6 

Book on Music 

Bettina Buchmann, The Techniques of Accordion Playing 

ISBN 978-3-76 8- 930- ............................................. 7 

Strings 

The Series “Bärenreiter‘s Easy Concertos“ 

Oskar Rieding, Concertino in Hungarian Style 

BA 8973 ..................................................................... 8 

Vittorio Monti, Czardas. BA 8975 ................................ 9 

Jean Baptiste Accolay, Concerto No. in A minor 

BA 8976 ..................................................................... 9 

Chamber Music 

Johannes Brahms 

Sextet in B-flat major op. 8 for Violins, Violas and 

Violoncelli. BA 94 9, TP 4 9 ..................................... 0 

Sextet in G major op. 36 for Violins, Violas and 

Violoncelli. BA 94 0, TP 4 0 .................................... 

Gabriel Fauré 

Quatuor à cordes op. . BA 790 , TP 4 ................. 

Trio pour violon, violoncelle et piano op. 0 

BA 790 ..................................................................... 3 

Edward Elgar, Serenade for Strings op. 0 

BA 904 ..................................................................... 4 

MGG – Die Musik in Geschichte und Gegenwart 

ISBN 978-3-76 8- 00-9 ............................................. 5 

Organ 

ORGAN PLuS ONE 

BA 850 ............................................................... 6– 7 

Antonio de Cabezón, Selected Organ Works 

for Keyboard, Volumes –4 

BA 9 6 –BA 9 64....................................................... 8 

Louis Vierne, Complete Organ Works, Volumes I and II 

BA 9 , BA 9 ....................................................... 9 

Piano 

Louis Vierne, Complete Piano Works, Volume I 

BA 96 .....................................................................30 

Alexander Skrjabin, Complete Piano Sonatas, Volume I 

BA 96 6 .....................................................................3 

Wolfgang Amadeus Mozart, Fantasia in G minor and Fuga 

in G major K. Anh. 3 and 45 / Sonata Movement in 

B-flat major K. 4 . BA 9638 ........................................3 

Leoš Janáèek, Capriccio for Piano (Left Hand) and 

Wind Ensemble. BA 9535 ............................................33 

Popular Choral Music 

Katrin Ehmer, Max Frey, Stefan Kalmer, Kurt Suttner 

Chor aktuell Female Voices. BE 498 ...........................34 

Contemporary Music / Complete Editions 

New Publications up to May 0 0 ...................................35 

Your Contacts ...........................................................36

Johann Sebastian Bach 

New Edition of the Complete Works. 

Revised Edition (NBA rev ) 

n The New Bach Edition (NBA), almost completed and available in 

04 music volumes and 0 critical commentaries, is regarded as 

a work of musical scholarship of the first rank. The publication of 

this immense project stretched over 56 years. However, since the 

publication of some of the earlier volumes, new sources have been 

discovered and others newly evaluated, new knowledge has been 

acquired and further editorial experience amassed. In the interest 

of a continued practical and musicological usability of the historical 

scholarly-critical complete edition, it is essential to update selected 

volumes. 

The Bach Archive Leipzig and Bärenreiter have therefore decided to 

publish approx. 5 volumes or works in revised editions. The New 

Bach Edition – Revised (NBA rev ) resembles the NBA in its outward 

appearance, but each volume now contains a more detailed 

foreword in German and English, discussing the genesis of the 

works and how the sources have come down to us as well as a 

concise critical report in German. 

The Bach Archive Leipzig is the internationally recognised centre 

for Bach research. This guarantees that the New Bach Edition – 

Revised will be prepared by first-class editors. Volume by volume, 

editions 

Johann 

of the 

Sebastian 

highest standard 

Bach 

will be created for the NBA 

Orgelwerke 

Bärenreiter Urtext 

BA 5 79 E 49,– / CHF 448.00 

rev . 

The volumes of the NBArev can be purchased individually 

or complete at specially reduced subscription prices. 

Each volume includes a preface (Ger and Eng) and a 

critical report (Ger). Format 5.5 x 3 .5 cm, cloth-bound. 

Bereits erschienen 

Bärenreiter will be publishing performance material 

based on these editions. 

What distinguishes the New Bach Edition – 

Revised? 

NBA 

New Bach Edition – Revised: 

Setting a New Standard for Scholars and Musicians 

l Edited by the Bach Archive Leipzig, the 

internationally recognised centre for Bach research 

l The general editors Christoph Wolff, Uwe Wolf 

and Peter Wollny guarantee the highest levels of 

scholarship 

l The latest research and scientific source examination 

form the basis for editorial decisions 

l A critical report (Ger) at the end of each volume 

facilitates quick reference 

l Approximately 15 volumes in revised editions 

Please order the brochure 

“Johann Sebastian Bach, New Edition of the Complete Works. 

Revised Edition (NBA rev )“, SPA 186 

The Publication Schedule 

Beginning with the Mass in B minor, which will be published 

in 0 0, approximately to volumes will appear per year. 

BA 5935 Mass in B minor ( 0 0) 

Retail price: approx. E 49.00 

Subscription price: approx. E 99.00 

BA 5936 Weimar Cantatas 

BWV 3 , 3 , 43, 6 , 7 

BA 5937 Chamber Music with Violin 

BA 5938 St. John Passion 

»O Mensch bewein« (1725) 

BA 5939 Organ Chorales I 

BA 5940 Pre Weimar Cantatas 

BWV , 06, 3 , 50 

BA 594 St. John Passion 

»Herr, unser Herrscher« (1749) 

Klavierübung I 

Chamber Music with Flute 

Motets 

Organ Chorales II 

Six Suites for Violoncello Solo 

Pictorial Documents of J. S. Bach's life 

Texts to the Vocal Works · 2 Volumes 

3

4 

Bach 

B ä r e n r e i t e r U r t e x t 

Messe in h-Moll 

Mass in B minor 

BWV 232 

Klavierauszug / Vocal Score 

Bärenreiter 


Mass in B minor 

New Insights – New Musicological Findings 

n The New Bach Edition (NBA) volume of J. S. Bach’s Mass 

in B minor BWV 3 has been the definitive edition for 

generations of singers and musicians. 

However the Bach Archive Leipzig in conjunction with Bärenreiter 

are constantly striving to bring new discoveries of editorial 

research to the fore. It is precisely for this reason that a new 

revised edition of the Mass in B Minor will now appear. The 

urtext performing edition is based on the first volume of the 

new 5 volume series New Bach Edition-Revised (NBA rev ). 

Edited by uwe Wolf, one of the Directors of Research at the 

Bach Archive Leipzig, this new edition of the Mass will present 

new findings and new insights. For the first time the Dresden 

parts of 733, which were largely written by Bach, are included 

as valuable additional source material to the autograph score. 

At the same time state-of-the-art scientific methods (x-ray 

spectograph) into Bach’s manuscript score shed light on additions 

made by C.P.E. Bach and others. The methods also enable 

in-depth analysis of areas which have been eroded to a large 

extent by ink gall erosion. 


Mass in B minor BWV 232 

(Missa, Symbolum Nicenum, Sanctus, Osanna, 

Benedictus, Agnus Dei et Dona nobis pacem) 


Edited by uwe Wolf 

BA 5935-00 

Full score, paperback approx. E 76.00 

*New Issue 

Title 

BA 5935-0 (format 5.5 x 3 .5 cm) 

Full score, cloth bound approx. E 49.00 

BA 5935-90 

Piano reduction by Andreas Köhs 

Vocal score (Latin)* approx. E .95 

TP 3 

Study score* approx. E 8.50 

Full performance material available on sale 

To appear in September 0 0 

NBA 

“It is tremendously important, this New Bach Edition – Revised 

of the Mass in B minor by J. S. Bach! One of the major works by 

J. S. Bach is now finally available in a scholarly edition, as it should be. 

Congratulations!” 

(Ton Koopman) 

“Uwe Wolf has undertaken a thorough and careful examination 

of all surviving materials by J. S. Bach – manuscripts, paper, ink, 

etc. From this we will be able to gain new confidence for the 

individual elements of our performances.” 

(Masaaki Suzuki, Bach Collegium Japan) 

The performance material to the NBA volume 

(BA 5 0 -90) will continue to be published.

Tromba I in D 

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 

174 

55 

8 

Tromba II in D 

Tromba III in D 

Timpani d, A 

Flauto traverso I 

Flauto traverso II 

Oboe I 

Oboe II 

Fagotto I, II 

Violino I 

The “Dresden Parts“ 

Valuable information to the readings of the autograph 

score of Violino the Missa II can be drawn from the “Dresden 

parts” of 733, largely written by Bach himself. 

The different readings of the parts are clearly 

differentiated Viola from the readings of the autograph 

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 

Soprano I 

Soprano II 

Alto 

* 

4a. (4.) Gloria 

Vivace 

SCORE File: Project: File Date: Time: Print data: 

1743 

55 

→ 

3 

3 

→ 

SCORE File: B33-035.MUS Project: A&O 6k 20.10.09 File Date: 08-24-*9 Time: 09:49 Print data: 1.08 2.1 2.4 300 3 

Tromba I in D 

Tromba II in D 

Tromba III in D 

Timpani d, A 

Flauto traverso I 

Flauto traverso II 

Oboe I 

Oboe II 

3 3 

Fagotto I, II 

Violino I 

Violino II 

3 3 

Viola 

Soprano I 

Soprano II 

Alto 

Tenore 

Basso 

Continuo (bez.) 

Violoncello 

* 

4a. (4.) Gloria 

Vivace 

8 

5 

2 

5 

4 

2 

* In Klammern geben wir die Satznummerierung nach NBA II/1 und II/1a. 

From: J. S. Bach, Mass in B minor: Gloria · BA 5935 Score 

6 

6 

NBA 

3 

Tenore 

3 3 

3 

In search of the original state of the autograph 

manuscript using scientific methods 

De i Pa 

8 

tris, 

For the first time annotations by J. S. Bach and C. P. E. Bach 

can be differentiated using 

a scen 

ink analysis (x-ray 

dit, a scen 

spectrography 

dit in 

3 Basso 

of over 500 places in the score). All corrections, additions and 

De 

3 

i Pa tris, 

5 

2 

alterations by Bach’s son and places which remain doubtful 

5 

(because 4 of iron gall ink erosion) appear in the edition in 

2 a scen dit, a scen dit [in 

square brackets. 

6 6 

Continuo (bez.) 

Violoncello 

De i Pa tris, a scen dit in 

De i Pa tris, * In Klammern geben wir a die scen Satznummerierung dit, a scen dit in nach NBA II/1 und II/1a. 

De i Pa tris, a scen dit in 

De i Pa tris, a scen dit in coe lum, a scen dit in 

8 

3 

3 

Bach‘s Mass in B minor in a Revised New Edition 

3 

3 

3 3 

3 3 

3 3 

De i Pa tris, a scen dit, a scen dit [in 

De i Pa tris, a scen dit in coe lum, a scen dit in 

tram De i Pa tris, a scen dit in 

3 

3 

tram De i Pa tris, a scen dit in 

→ 

→ 

3 3 

3 3 

→ 

From: J. S. Bach, Mass in B minor: Symbolum Nicenum, Et resurrexit 

3 

3 

3 

35 

35 

5

6 

Choral Music 

händel 


Jephtha 

hWV 70 

Vocal Score 

Klavierauszug 



Jephtha 

Oratorio in Three Acts HWV 70 

n Jephtha is Handel’s last oratorio. Handel had to break 

off from composing several times because of his increasing 

blindness in 75 . The first performance at the Covent 

Garden Theatre in February 75 was the last performance 

he conducted before he went completely blind. 

In Jephtha, Handel succeeded in achieving the perfect fusion 

between a biblical plot and the spirit of classical tragedy. 

With great intensity and dramatic expression he highlighted 

in particular the fates of Jephtha and Iphis, thereby 

portraying convincing and complex characters. 

The chorus “How Dark, O Lord, are Thy Decrees” at the end of 

part two is of crucial importance in the work and is regarded as 

the dramatic high point of the oratorio. 

The vocal score is based on volume I/30 of the Halle Handel 

Edition (BA 40 4) published in 0 0, which contains the 

complete critical version of the music of the oratorio for 

the first time. 


Jephtha 

Oratorio in Three Acts HWV 70 


Edited by Kenneth Nott 

Text by Thomas Morell after the Book of Judges from 

the Old Testament 

New Issue 

Title 

l Handel’s last oratorio based on the Urtext 

of the Halle Handel Edition 

l First critical edition of this work 

l Detailed foreword (Ger/Eng) 

l Clear straightforward piano reduction 

Vocal score (Eng) 

Piano reduction by Martin Focke 

BA 40 4-90 approx. € .95 

Performance material available on hire 

To appear in November 0 0


händel 


Ottone 

hWV 15 

Klavierauszug 

Vocal Score 



Ottone 

Opera in three acts HWV 15 

n Handel completed his opera Ottone in August 7 , but the 

first performance did not take place until January 7 3 in the 

Haymarket Theatre, London; the composer had waited so long 

for the famous soprano Francesca Cuzzoni who he had in mind 

for the role of Teofane. Ottone was an immediate success from 

the beginning, not only for its top-class cast but also because of 

its formal and musical structure. It received numerous revivals 

until 733. 

Stylistically, Ottone follows in the Neapolitan opera tradition 

with emotionally charged arias as the principal vehicles of 

expression, whilst the plot is carried forward in the secco 

recitatives. The dramatic action is interpreted and intensified 

through the choice of arias and keys. 

The vocal score is based on volume II/ of the Halle Handel 

Edition (BA 4077), which contains the complete critical musical 

text of the opera for the first time. 


Ottone 

Opera in three acts HWV 5 


Edited by Fiona Mclauchlan 

Vocal score (Eng/Ger) 

Piano reduction by Andreas Köhs 

BA 4077-90 approx. E 47.95 


Title 

l First critical edition based on the Urtext 

of the Halle Handel Edition 

l Additional numbers from later performances 

included in the appendix 

l Foreword (Ger/Eng) 


To appear in October 0 0 

7

8 


lOeWe 


das Sühnopfer des neuen Bundes 

Klavierauszug 

Vocal Score 


Carl Loewe 

Das Sühnopfer des neuen Bundes 

Passion Oratorio in three parts 

n Loewe’s Passion Oratorio Das Sühnopfer des neuen Bundes 

was probably composed in 847. The work is divided into three 

parts, each subdivided into three sections. Each of the resulting 

nine scenes corresponds with one of the traditional stations of 

the Passion story. 

Loewe used the usual forms of recitative, arioso, aria, chorus 

and chorale in this work. He nevertheless succeeded in giving 

the music an absolutely personal character, yet at the same time 

a diversity of expression. Precisely this diversity of expression has 

ensured that the oratorio genre has become an important part 

of the sacred music repertoire in recent years. 

This edition takes all available sources into consideration and 

offers the complete material for the first time in a practical 

performing edition. 

Carl Loewe 

Das Sühnopfer des neuen Bundes 

Passion Oratorio in three parts 


Edited by Claudia Mücke 

Libretto after Words of the Holy Scripture by 

Wilhelm Telschow 


Title 

26 

268 

8 

26 

8 

8 

8 

32 

8 

ge von 

dim. 

dim. 

Trä nen, mei nen Fuß vom Glei ten. 

ge von 

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ge von 

dim. 


ten, 

vom 

dim. 

dim. 

mei nen 

Glei 

Fuß vom Glei 

ten. 

ten. 

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ten, mei nen Fuß vom Glei ten. 

dim. 

dim. 

ten, mei nen Fuß vom Glei ten. 

C 

Soprano 

C 

dim. 

Soprano 

32 

Lo 

Alto C 

bet den Herrn al le Hei den, prei set ihn al le Völ ker, 

Soprano 

32 Lo bet den Herrn al le Hei 

Alto 

Lo bet den Herrn al le Hei 

den, 

den, 

prei set ihn al 


le 

le 

Völ 

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ker, 

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Tenore 



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Tenore 

den, 

den, 



le 

le 

Völ 

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ker, 

ker, 

8 

Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker, 

BassoLo 


8 Tenore 

Lo 

Basso 



8 


Basso Lo bet den Herrn al le Hei den, prei set ihn al le Völ ker, 

Lo 

dim. 

dim. 


BA 7678a 

l Urtext edition reflecting the latest research findings 

l Clearly presented performance material 

l Duration: approx. 120 minutes 

BA 7678 

Score* approx. E 44,95 

Strings each approx. E 5.00 

Organ approx. E 7.00 

Piano reduction by the composer 

Vocal score (Ger) 

BA 7678-90* approx. E 6.95 


BA 7678a 

BA 7678a 

29 

29 

29

Stage Work 

SMetana 


Prodaná nevěsta 

die Verkaufte Braut 

Klavírní výtah 

Klavierauszug 

Vocal Score 


Bedøich Smetana 

Prodaná nevìsta 

The Bartered Bride 

Comic opera in three acts 

n Bedøich Smetana ( 8 4– 884) only began to devote himself 

intensively to the project of an original opera in Czech at the 

age of 38. The libretto of The Bartered Bride, the second of 

Smetana’s nine operas, was written for Smetana by the poet 

and journalist Karel Sabina. The subject chosen for the comic 

opera was the story of a pair of lovers in the countryside whose 

relationship is disapproved of by their parents. It is set during 

the festival at a village church anniversary. 

The final form of the work, which soon came to be regarded as 

a national opera, was preceded by a relatively difficult genesis. 

The opera was written between 863 and 865 and was 

premiered on 30 May 866 at the Provisional Theatre in Prague, 

where the composer’s last version of the work was also 

performed in 870. 

This vocal score contains the musical text of the critical edition 

of Smetana’s own vocal score. The newly-set edition contains 

both Czech and German vocal texts; the German singing 

translation is by Kurt Honolka. 

Bedøich Smetana 

Prodaná nevìsta 

The Bartered Bride 

Comic opera in three acts 


Edited by František Bartoš 

Vocal score (Cz/Ger) 

BA 9534-90 approx. E 34.95 


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l Urtext based on the critical edition of Smetana’s 

own vocal score 

l A key work of modern Czech opera 

l New foreword by Marta Ottlová (Cz/Eng/Ger) 

l Includes singing translation by Kurt Honolka (Ger) 

The newly-set and revised performance material for the entire 

opera, based on the critical edition by František Bartoš, 

is available on hire. 

The vocal score replaces the old edition AE . 


To appear in November 0 0 

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Solo Voice 

händel 


Opernarien 

für Mezzosopran und alt 

Opera arias 

for Mezzo-Soprano and contralto 



Opera Arias for Mezzo-Soprano and Contralto 

n Based on the Bärenreiter vocal scores, these three volumes 

contain some of Handel’s best-known arias for mezzo-soprano/ 

contralto, tenor and bass, together with some less well-known 

numbers of equally high musical quality. The arias in these 

volumes contain works from Handel’s thirty-year period as an 

opera composer in London and give an impression of the variety 

of this extensive repertoire. The arias display various distinctive 

technical features and are mostly presented with the preceding 

recitative or, in a few cases, in the context of an entire scene. 

The arias appear in the chronological order of the operas. 

The forewords by Donald Burrows contain detailed notes on 

Handel’s singers and on the context of the arias of the operas. 


Opera Arias for Mezzo-Soprano and Contralto 


Selected and with a foreword 

by Donald Burrows 

BA 0 53 approx. E 4.95 



30 

8 

15 

22 

Largo 

CORNELIA 

Pri va son 

Aria “Priva son d’ogni conforto” 

Giulio Cesare in Egitto HWV 17 

Atto I, Scena IV 

d’o gni 

con for to, e pur spe me di mo 

ri re per me mi se ra non v’è , no , non 

v’è, pri va son d’o gni con for to, e pur spe me 

di mo rir per me mi se ra non v’è, per me mi se 

BA 10253 

Recitatives and arias (for mezzo-soprano/contralto, 

female roles and breeches roles) from: Amadigi, Ariodante, 

Ezio, Flavio, Giulio Cesare in Egitto, Lotario, Orlando, Radamisto, 

Rinaldo, Rodelinda, Serse (Xerxes), Tamerlano 


Title

Solo Voice 

händel 


Opernarien 

für tenor 

Opera arias 

for tenor 



Opera Arias for Tenor 


Opera Arias for Tenor 




BA 0 54 approx. E 4.95 


händel 


Opernarien 

für Bass 

Opera arias 

for Bass 


Recitatives and arias (for tenor) from: Alcina, Ariodante, 

Ezio, Lotario, Rodelinda, Rodrigo, Tamerlano 


Opera Arias for Bass 

Recitatives and arias (for bass) from: Ariodante, Deidamia, 

Ezio, Giulio Cesare in Egitto, Imeneo, Lotario, Orlando, 

Radamisto, Riccardo Primo, Rodelinda, Serse (Xerxes), Tolomeo 


Title 


5 

9 

14 

18 

8 

8 

8 

gian 

Allegro 

GIULIANO 

be ria al so glio in vit to , re ca pal me e spar ge al lo ri fe steg 

BA 10254 © 2010 by Bärenreiter-Verlag, Kassel 

l Based on the Urtext vocal scores of the Halle Handel 

Edition 

l Detailed forewords (Eng/Ger) by leading Handel 

expert Donald Burrows 

l Text translations of the Italian arias (Eng/Ger) 

You can find the complete contents of these volumes 

at www.baerenreiter.com 


Opera Arias for Bass 


Del l’I be ria al so glio in vit to , del l’I 



BA 0 55 approx. E 4.95 


Aria “Dell’Iberia al soglio invitto” 

Rodrigo HWV 5 

Atto I, Scena V 


Title

Solo Voice 

SchUBert 


die schöne Müllerin 

Op. 25 

hohe Stimme / high Voice 

SchUBert 



Op. 25 


Mittlere Stimme / Medium Voice 

Franz Schubert 

Die schöne Müllerin op. 25 


Edited by Walther Dürr 

BA 9 7 high voice 

BA 9 37 medium voice 

BA 9 57 low voice 

SchUBert 




Op. 25 

tiefe Stimme / low Voice 


Price per volume approx. E .95 


Title 


Die schöne Müllerin op. 25 

n The cycle of poems Die schöne Müllerin was originally 

written by several authors including Wilhelm Müller, Achim von 

Arnim, Luise and Wilhelm Hensel and Ludwig Rellstab. It was 

published in its final form in 8 0 by Wilhelm Müller in the 

collection Sieben und siebzig Gedichte aus den hinterlassenen 

Papieren eines reisenden Waldhornisten. At that time the cycle 

included 3 poems. Schubert omitted three poems as well as 

a prologue and epilogue in his setting, thereby overriding the 

irony and pessimistic ending intended by the poet. Schubert’s 

composition was published in five books between February 

and August 8 4. 

The first lieder in the cycle are happy and composed with a 

forward momentum, characteristics which are also reflected in 

the virtuoso piano accompaniment. The second part of the song 

cycle turns into resignation, melancholy and impotent rage and 

is similar to Schubert’s Winterreise in its longing for death. 

To appear in July 0 0 

BA 9 7 BA 9 37 BA 9 57

Contents 

Solo Voice 

. Das Wandern 

. Wohin? 

3. Halt! 

4. Danksagung an den Bach 

5. Am Feierabend 

6. Der Neugierige 

7. ungeduld 

8. Morgengruß 

9. Des Müllers Blumen 

0. Tränenregen 

. Mein! 

. Pause 

3. Mit dem grünen Lautenbande 

4. Der Jäger 

5. Eifersucht und Stolz 

6. Die liebe Farbe 

7. Die böse Farbe 

8. Trockne Blumen 

9. Der Müller und der Bach 

0. Des Baches Wiegenlied 

6 

11 

16 

1. Das Wandern 

*) Mäßig geschwind 

Mül lers Lust, das Wan 

wir’s ge lernt, vom Was 

Rä dern ab, den Rä 

Wan 

Was 

Rä 

dern! 

ser! 

dern! 

Wan dern ein, das Wan 

schaft be dacht, das Was 

mü de gehn, die Rä 

Die schöne Müllerin 

dern, 

ser, 

dern, 

dern, 

ser, 

der, 

Das 

Das 

Die 

das 

das 

die 

op. 25 

Wilhelm Müller 

muss 

hat 

gar 

ein schlech ter Mül ler sein, dem nie mals fiel das 

nicht Rast bei Tag und Nacht, ist stets auf Wan der 

nicht ger ne stil le stehn, die sich mein Tag nicht 

Wan dern, das 

Was ser, das 

Rä der, die 

*) Original in B-Dur. / Originally written in B major. 

BA 9121 

Ba 9137 © 1975 by Bärenreiter-Verlag, Kassel 

das 

vom 

das 

16 

Wan dern 

Was ser 

sehn 

11 

6 

Wan 

Was 

Rä 

ist 

ha 

wir auch 

Wan 

Was 

Rä 

D 795 

Oktober 1823 bis März 1824 (?) 

des 

ben 

den 

dern, das 

ser, das 

der, die 

Das Wan dern ist des 

Vom Was ser ha ben 

Das sehn wir auch den 

1. Das Wandern 

Mäßig geschwind 

dern! 

ser! 

dern! 

Mül 

wir’s 

Rä 

lers Lust, das 

ge lernt, vom 

dern ab, den 

Mül lers Lust, das Wan 

wir’s ge lernt, vom Was 

Rä dern ab, den Rä 

Wan dern. 

Was ser. 

Rä der. 

Wan dern ein, das Wan 

schaft be dacht, das Was 

mü de gehn, die Rä 

dern, 

ser, 

der, 

Ba 9117 © 1975 by Bärenreiter-Verlag, Kassel 

l Famous song cycle available for the first time 

in a separate edition. 

l Based on the definitive New Schubert Edition 

l Foreword by Walther Dürr discussing the history 

of the work’s composition and sources (Ger/Eng) 

l With an English translation of the song texts by 

Richard Wigmore 

Already published: 

147 

dern, 

ser, 

dern, 

das 

das 

die 

Die schöne Müllerin 

Das 

Das 

Die 

muss 

hat 

gar 

ein schlech ter Mül 

nicht Rast bei Tag 

nicht ger ne stil 

Wan dern, das Wan 

Was ser, das Was 

Rä der, die Rä 

BA 9101 

op. 25 

Wilhelm Müller 

das 

vom 

das 

Wan dern 

Was ser 

sehn 

wir auch 


Die schöne Müllerin in a collected volume 

(Erlkönig, op. – Schlaflied, op. 4, ) 

Schubert Lieder, Volume 

BA 9 0 high voice E 35.95 

BA 9 medium voice E 35.95 

BA 9 4 low voice E 35.95 

ist 

ha 

des 

ben 

den 

ler sein, dem nie mals fiel das 

und Nacht, ist stets auf Wan der 

le stehn, die sich mein Tag nicht 

dern, das Wan dern. 

ser, das Was ser. 

der, die Rä der. 

Mül lers Lust, das 

wir’s ge lernt, vom 

Rä dern ab, den 

147 

D 795 

Oktober 1823 bis März 1824 (?) 

Das 

Vom 

Das 

Wan dern ist des 

Was ser ha ben 

sehn wir auch den 

3

Ode to Joy 

4 

Ludwig van Beethoven · Symphony No. 9 op. 125 

With his ninth symphony, Beethoven 

ventured into new musical dimensions. 

In the final movement, soloists and chorus 

join forces with the orchestra and 

Schiller’s “Ode to Joy” becomes a global 

aspiration, a declaration: “Alle Menschen 

werden Brüder! / All mankind becomes 

brothers.” 

In his commentary the great Beethoven 

scholar Lewis Lockwood describes the 

plea which Beethoven wanted to deliver 

at that time with this work and how views 

of this have changed over the centuries. 

Jonathan Del Mar, a renowned editor 

of Beethoven’s works, comments on 

noteworthy passages in the autograph 

manuscript and allows the reader to share 

in the composer’s working process. 

Already the large-format paper which 

Beethoven used for some passages makes 

the large forces clear. Cuts, sometimes 

reversed later, show how he wrestled with 

the final version of the musical text and 

refined it right down to the last detail. 

The history of the autograph manuscript 

reflects an episode in German history: 

after storage in various places because 

of the war, the major parts were returned 

to Berlin but were initially divided by 

the Berlin Wall and only reunited in 1990. 

Martina Rebmann who is the Director 

of the Music Department at the Staatsbibliothek 

zu Berlin traces this story. 

In 1972 the main theme of the last 

movement was chosen by the Council 

of Europe as the European anthem and 

in 1985 it was adopted by the European 

Community as its official anthem. In 2001 

the manuscript was listed in UNESCO’s 

Memory of the World Register. 

For the first time the facsimile presents 

all the parts of the manuscript including 

pages preserved in Bonn and Paris as 

well as the trombone and contrabassoon 

parts.

BÄRENREITER 

FACSIMILE 

Synonymous with the 

highest authenticity 

The BÄRENREITER FACSIMILE 

seal is used exclusively for 

facsimile editions published 

by Bärenreiter which meet 

the highest demands in both 

scholarly and technical terms. 

The distinguishing features 

include: 

› a facsimile in high quality 

colour printing 

› attractive cover design 

› scholarly commentary 

Ludwig van Beethoven 

Symphony No. 9 op. 125 

Facsimile of the 

autograph score in the 

Staatsbibliothek zu 

Berlin – Preußischer 

Kulturbesitz, the 

Beethoven-Haus Bonn 

and the Bibliothèque 

nationale de France 

With articles by 

Lewis Lockwood, 

Jonathan Del Mar and 

Martina Rebmann 

Documenta 

musicologica II, 42 

422+11 pages of facsimile 

and approx. 15 pages 

introduction in each 

of the three languages 

(English/German/ 

Japanese) 

format: 37 x 40 cm 

half-linen, hardback 

ISBN 978-3-7618-2169-5 

approx. � 698.00 

To appear in October 2010 

ISBN 978-3-7618-2169-5 

9 783761 821695 

5

6 

Facsimile 


“Allein zu dir, Herr Jesu Christ“ BWV 33 

Cantata for the 13th Sunday after Trinity 

n BWV 33 belongs to the unique annual cycle of chorale 

cantatas composed by Bach in 7 4/ 5, the second year of 

his Leipzig tenure. The cantata is one of the very few works 

where all the relevant source materials for the first 

performance have been preserved but are kept in various 

libraries throughout the world: 

The composing score is kept at the Scheide Library in Princeton, 

the vocal-instrumental performing parts at the Bach Archive 

Leipzig and the original libretto at the Russian National Library 

in St. Petersburg. 

The facsimile offers invaluable insights into the composer's 

workings and the changing conditions for performances 

under his direction. 


“Allein zu dir, Herr Jesu Christ“ BWV 33 

Cantata for the 3th Sunday after Trinity 

Edited by Christoph Wolff and Peter Wollny 

Autograph score, original parts, text from 7 4 

Facsimile series Bachscher Werke und Schriftstücke, 

New Series, Volume V 

l Published to commorate the 325 th anniversary 

of Bach’s birth on 21 March 2010 

l Limited edition of 100 copies 

l Net proceeds go to the Bach Archive, Leipzig 

Boxed set of 4 pages (score), 54 pages (parts), 6 pages (text) 

and 6 pages (commentary) 

ISBN 978-3-76 8- 0 - 

Introductory price valid until 30.6. 0 0: E 54.00 

Sales price from .7. 0 0 onwards: E 98.00 

Already published

Book on Music 

Bettina Buchmann 

The Techniques of Accordion Playing 

n In view of the enormous upswing in popularity that the 

accordion has experienced as an avantgarde instrument in the 

last decades of the twentieth century, a systematic elaboration 

of the latest instrumental techniques and forms of expression, 

as well as detailed instructions on how to employ the accordion 

have been sorely lacking. 

This book explains all the playing techniques, registers as well as 

tonal potentials and expressive possibilities of the accordion. It 

demonstrates the distinctive elements of these techniques and 

in addition, gives composers valuable information concerning 

notation. 

A CD with examples of sound techniques and excerpts from 

the repertoire is included. An extra fold-out chart presents a 

full-sized layout of the treble and bass sides, helping composers 

to check fingering possibilities. 

This long-awaited book will be an essential tool for composers, 

performers and teachers. 

Bettina Buchmann 

The Techniques of Accordion Playing 

pages with CD and fold-out chart; paperback 

ISBN 978-3-76 8- 930approx. 

E 59.00 

Already published 

“This book by Bettina Buchmann is a real boon; it gives not only a 

representative overview of the latest instrumental techniques and 

forms of expression on the accordion today, but paves the way for 

composers and accordionists to compose and perform idiomatically 

on the instrument. The author and publisher deserve the highest 

recognition for this.” 

(Teodoro Anzellotti) 

“The accordion has enjoyed a revival in popularity in recent 

times – numerous composers have discovered it as a solo instrument, 

in chamber music and also for its orchestral sound. I’m really happy 

to have this exceptionally clearly laid out book by Bettina Buchmann 

by my side as a guide and incentive for my further explorations into 

the instrument.” 

(Beat Furrer) 

l Comprehensive description of all relevant playing 

techniques on the button accordion 

l Practical notation suggestions for composers 

l Music examples from important contemporary 

works 

l CD containing examples of all registration and 

playing techniques and excerpts from the repertoire 

l Full size, fold-out chart giving the arrangement of 

the buttons on the instrument 

l Text in two languages (Ger/Eng) 


Pascal Gallois 

The Techniques of Bassoon Playing 

ISBN 978-3-76 8- 860- E 49.95 

Carin Levine, Christina Mitropoulos-Bott 

The Techniques of Flute Playing 

Volume : Flute 

ISBN 978-3-76 8- 595-3 E 44.95 

Volume : Piccolo, Alto, Bass 

ISBN 978-3-76 8- 788-9 E 44.95 

Peter Veale, Claus-Steffen Mahkopf 

The Techniques of Oboe Playing 

ISBN 978-3-76 8- 0-5 E 54.00 

7

8 

Strings 

The series Bärenreiter’s Easy Concertos continues 

with three further works from the violin repertoire. 

The editions contain a solo violin part and a piano reduction 

for the accompanist. 

The series is edited by Kurt Sassmannshaus, 

the internationally-renowned violin teacher and co-author 

of the Sassmannshaus violin school tradition. His forewords 

introduce these little gems and include tips for successful 

first concerts. The editions form an ideal continuation of 

the Sassmannshaus violin school tradition; they can be used 

in parallel from the third volume onwards or alongside any 

violin method. 

The series will be continued and will introduce the student 

to more demanding repertoire with an increasing level of 

difficulty. 

Oskar Rieding’s Concertino op. uses st and 3 rd position 

exclusively. Hungarian echoes in the Andante sostenuto on 

the high and low strings of the violin and extensive 

semiquaver (sixteenth-note) passages in the Allegro 

moderato require basic dexterity in the left hand combined 

with frequent use of accented bowing in the right hand. 

Czardas by Vittorio Monti is a popular as well as a fiery 

concert and encore piece. Tonal finesse and the lively 

interplay of tempo, dynamic and character changes 

constitute its special attraction and offer young violinists, 

who are already comfortable in st and 5 th position, 

a wealth of possibilities for experimenting. 

Jean Baptiste Accolay’s Concerto in A minor is also a 

standard work for violin classes. Its fascination lies in its 

expressiveness which is created by the simplest technical 

means. 


Oskar Rieding 

Concerto in B minor op. 35 

BA 897 E 8.00 

Friedrich Seitz 

Student Concerto No. 2 in G major op. 13 

BA 897 E 8.50 

Antonio Vivaldi 

Concerto in A minor op. 3 No. 6 

BA 8974 E 0.00 

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(1840–1918) 

Concertino 

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Style op. 21 

Oskar Rieding 

Concertino in Hungarian Style 

op. 21 

Bärenreiter‘s Easy Concertos 

Violin part and enclosed 

piano accompaniment 

BA 8973 approx. € 8.00 


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9


Sextet in B-flat major op. 18 

for 2 Violins, 2 Violas and 2 Violoncelli 

n The two string sextets by Johannes Brahms are amongst 

the high points of the Romantic string repertoire and some of 

the most popular chamber music works of all. 

The new Bärenreiter urtext editions, edited by Christopher 

Hogwood, are the first scholarly-critical editions of these 

much-performed works. The editor has taken all known 

sources into consideration including the versions for piano two 

and four hands which the composer wrote as well as a set of 

contemporary performing parts which offer variant readings 

and insights into performance practice during Brahms’ lifetime. 

0 


BrahMS 


Sextett 

für 2 Violinen, 2 Bratschen und 2 Violoncelli 

Sextet 


op. 18 



Sextet in B-flat major op. 18 



Edited by Christopher Hogwood 

BA 94 9 Parts in slipcover approx. € 3 .95 

TP 4 9 Study score approx. € 4.95 



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BA 94 9 TP 4 9


BrahMS 


Sextett 

für 2 Violinen, 2 Bratschen und 2 Violoncelli 

Sextet 


op. 36 



Sextet in G major op. 36 


l First Urtext editions of these popular chamber music 

works 

l Include variant readings from contemporary parts 

l With facsimile pages 

The study scores to each of these works include facsimile pages, 

a foreword (Ger/Eng) and a critical commentary (Eng) on the 

work and history of the composition. 


Sextet in G major op. 36 




Title 


BA 94 0 Parts in slipcover approx. € 3 .95 

TP 4 0 Study score approx. € 4.95 

To appear in October 0 0 BA 94 0 TP 4 0 

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faUré 


Quatuor à cordes 

op. 121 



Quatuor à cordes op. 121 

n Gabriel Fauré’s only string quartet which was composed in 

9 3- 4 is the composer’s final work and was written at the 

suggestion of his publisher Jacques Durand. until then, Fauré 

had always put off writing a string quartet, evidently because 

of Beethoven’s imposing shadow. 

When Fauré composed the quartet he was already extremely ill. 

He added dynamics and slurs only in some parts of the exposition 

of the first movement and then asked his former pupil Jean Roger- 

Ducasse to complete the work. Roger-Ducasse’s additions were 

however very extensive; he even altered and supplemented 

some of Fauré’s own markings in the exposition. 

Bärenreiter’s first ever scholarly critical edition of the quartet 

utilises all sources including the composer’s letters which 

provide valuable insights into the origins of the composition. 

In particular, Fauré’s penultimate work, the Piano Trio op. 0, 

was used to guide the editor with his emendations. 


Quatuor à cordes op. 121 


Edited by James W. Sobaskie 

BA 790 

Parts in slipcover approx. E 34.95 

TP 4 

Study score approx. E 4.95 


Title 

Violon I 

Violon II 

Alto 

Violoncelle 

7 

14 

QUATUOR À CORDES 

Op. 121 

I 

Allegro moderato (h = 76) 

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l First scholarly-critical edition of this work 

l High-quality Urtext edition based on 

the Complete Works of Gabriel Fauré 

l Standard repertoire work for every string quartet 

l Foreword (Eng/Fr/Ger) 

No distribution rights for USA 

To appear in August 0 0 

À Camille Bellaigue 

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faUré 


trio 

pour violon, violoncelle et piano 

op. 120 




n Gabriel Fauré’s Piano Trio, his penultimate work, was 

composed in 9 - 3 and published in June 9 3. The threemovement 

work clearly shows Fauré’s ability to combine a 

transparent texture with charming and elegant themes. 

until now the composition has always presented musicians with 

considerable problems as the score offers conflicting readings 

when compared with the separate string parts. Without reliable 

information on the different readings, important basic 

information for an appropriate interpretation of the work has 

been lacking. 

Bärenreiter’s first ever critical edition of this masterpiece finally 

unites the parts with the score. All variants appear in the critical 

commentary to the corresponding complete edition volume of 

the Complete Works of Gabriel Fauré. 




Edited by James W. Sobaskie 

BA 790 

Score with parts approx. E 8.95 


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l High-quality Urtext edition based on 

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l Foreword (Eng/Fr/Ger) 

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elgar 


Serenade 

für Streicher / for Strings 

op. 20 


Edward Elgar 

Serenade for Strings op. 20 

n With Christopher Hogwood’s new edition of Elgar’s much 

loved Serenade, a scholarly-critical edition of the work is now 

available for the first time. As with other Elgar works, modern 

editions of the Serenade have always suffered from an enormous 

number of inconsistancies between the score and parts and 

unclear divisi and unison passages. The editor has clarified these 

discrepancies, drawing on Elgar’s version of the work for piano 

four hands (the original version) and the recently discovered 

autograph manuscript of the first movement. 

The edition also contains a facsimile showing the original 

ending of the third movement as well as an informative 

foreword (Ger/Eng) and a critical commentary (Eng). 

Edward Elgar 

Serenade for Strings op. 20 



BA 904 

Score* approx. E 3.95 

Strings, each approx. E 3.50 


Title 

l The first scholarly-critical Urtext edition of this 

popular work for string orchestra 

l Foreword (Ger/Eng) and critical commentary (Eng) 

l With facsimile pages 

No distribution rights for France, Italy and Spain 


Score

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6 

Organ Plus One 

ORGAN PLuS ONE 

Advent / Christmas 

n Bärenreiter is publishing a new series ORGAN PLuS ONE 

and hereby presents a new concept: pieces of easy to moderate 

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Each edition contains pieces which are freely-composed or 

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ORGAN PLUS ONE 

Advent / Christmas 

Edited by Carsten Klomp 

Score with parts 

BA 850 approx. € 5.95 


The contents of the editions in this series correspond to the 

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l Advent / Christmas 

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7

8 

Organ 

caBezÓn 


ausgewählte Werke für tasteninstrumente 

Selected Works for Keyboard 

Antonio de Cabezón 


n The court organist Antonio de Cabezón, who was 

appointed to Queen Isabella’s court chapel in Toledo at the 

young age of 6, was rightly regarded by his contemporaries 

as the leading Spanish organist and keyboard player of the 6 th 

century. His hymns and versets are based on short, decorated 

harmonisations of the psalm tones. In the tientos, the 

transformation from vocal motet style to a style of writing 

suitable for keyboard instruments is perfectly executed. 

This urtext edition contains a selection of Cabezon’s best 

known works and will consist of four volumes. It has been 

prepared by two editors working at Portuguese and Spanish 

universities who are both leading scholars of the works of 

Cabezón and reflects the latest research findings. 

Antonio de Cabezón 



Edited by Gerhard Doderer and 

Miguel Bernal Ripoll 

Volume 1: Hymns, Tientos and Versets 

BA 9 6 approx. € 6.95 

Volume 2: Hymns, Versets and Tientos 

BA 9 6 approx. € 6.95 

i 



Title 

l First scholarly-critical edition of selected works by 

the leading Spanish organist 

l Reflects the latest research findings 

l Each volume with a foreword (Ger/Eng) with tips on 

editorial technique, critical commentary (Ger/Eng) 

and index of sources 

Volume 3: Glosas 

BA 9 63 approx. € 6.95 

Volume 4: Glosas and Diferencias 

BA 9 64 approx. € 6.95 

All 4 volumes 

to appear in August 0 0

Organ 

Vierne 


l‘Œuvre d‘Orgue 

complete Organ Works 

Sämtliche Orgelwerke 

i 


Louis Vierne 

Complete Organ Works, Volumes I and II 

n Louis Vierne ( 870– 937) studied privately with César Franck 

and was appointed titulaire organist at Notre-Dame (Paris) in 

900. Numerous concert tours throughout Europe and the uSA 

made him famous worldwide. His students included Marcel 

Dupré, whose pupil Thierry Escaich has worked on this edition. 

Vierne’s organ works are masterpieces of organ music and 

occupy a central position in the virtuoso organ repertoire. In 

particular, Vierne took the form of the organ symphony to 

new stylistic heights and influenced the development of organ 

technique worldwide. His six symphonies are masterworks of 

the French organ symphony. 

Louis Vierne 

Complete Organ Works, Volumes I and II 


Edited by Helga Schauerte-Maubouet, 

with Thierry Escaich, Jean-Pierre Mazeirat 

and Rollin Smith 


Title 

l Evaluation of all available autographs, first printed 

editions and previously unpublished letters 

l Editorial clarification superseding the long-standing 

international correction lists 

l Critical commentary (Fr/Eng/Ger) and foreword 

(Fr/Eng/Ger) with detailed performance practice tips 

l Numerous illustrations and facsimile pages 


Louis Vierne 

Organ Works 

Symphony no. 3 op. 8 

Volume III 

BA 9 3 € .95 

Pièces en style libre pour orgue ou harmonium 

Volume VIII.1: (Livre I, – ) op. 3 

BA 9 35 € .95 

Volume VIII.2: (Livre II, 3– 4) op. 3 

BA 9 36 € 4.95 

Pièces de Fantaisie en quatre suites 

Volume VII.1: (Livre I, –6) op. 5 

BA 9 7 € 9.95 

Volume VII.2: (Livre II, 7– ) op. 53 

BA 9 8 € .95 

Volume VII.3: (Livre III, 3– 8) op. 54 

BA 9 9 € .95 

Volume VII.4: (Livre IV, 9– 4) op. 55 

BA 9 30 € .95 

Masses and individual liturgical works 

Volume IX 

BA 9 37 € 9.95 



Volume I: Symphony no. op. 4 

BA 9 approx. € 4.95 

To appear in December 0 0 

Volume II: Symphony no. op. 0 

BA 9 approx. € 4.95 


9

30 

Piano 

Vierne 


l‘ Œuvre de Piano 

complete Piano Works 

Sämtliche Klavierwerke 

Louis Vierne 

Complete Piano Works, Volume I 

n Louis Vierne was a celebrated organist but throughout his 

life he was also a keen pianist and composer of piano music. 

He had a particular feeling for the tonal finesse and riches the 

instrument offered. The pieces in this volume, which include 

some works published for the first time, date from Vierne’s early 

years and are in the tradition of the Romantic character piece. 

In both their harmonic language and their elegant feeling for 

sonority, they reveal Vierne’s individual musical language. 

These pieces are mainly of medium technical difficulty and 

are therefore suitable for a broader spectrum of pianists. 

The editor, Brigitte de Leersnyder, is a pianist and piano teacher. 

She has researched Louis Vierne’s piano music for many years 

and has published a comprehensive and highly-regarded 

monograph on the composer. 

l Scholarly-critical Urtext edition based on all available 

sources 

l First publication of previously unknown 

compositions 

Louis Vierne 

Complete Piano Works, Volume I 


Edited by Brigitte de Leersnyder 

BA 96 approx. € 8.95 


i 


4 

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l Comprehensive critical commentary (Fr/Ger/Eng) 

including numerous facsimile pages 

l Detailed foreword (Fr/Ger/Eng) on the genesis 

of the works and on performance practice 


f 

Louis Vierne 

Complete Piano Works 

À Mademoiselle Juliette Toutain 

SUITE BOURGUIGNONNE 

Sept pièces pour piano 

op. 17 

1. Aubade 

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Title

Piano 

SKrJaBin 


Sämtliche Klaviersonaten i 

complete Piano Sonatas i 


Alexander Skrjabin 

Complete Piano Sonatas, Volume I 

n The piano sonatas are regarded as the central works of 

Alexander Skrjabin’s compositional output. No other composer 

after Beethoven reshaped this genre so radically, thereby 

reinvigorating the tradition of the sonata. Skrjabin’s desire not 

simply to continue the existing tradition, but to surpass it, is 

evident as early as his first sonatas. These are exciting works 

from the pianist’s perspective and in their abundance of 

expression and wealth of imagination. up to the third sonata 

Skrjabin developed a distinctive feeling for structural coherence 

and cyclical unity which at the same time revealed poetic qualities. 

This volume contains the earlier works; sonatas officially 

published during the composer’s lifetime as No. op. 6, No. 

(Sonate-Fantaisie) op. 9 and No. 3 op. 3 as well as the 

sonatas written during his youth, in G-sharp minor ( 886) and 

E-flat minor ( 887-89). The edition also includes the virtually 

unknown fragment of a sonata in C-sharp minor ( 887) and 

the reconstructed parts of a sonata in G-sharp minor ( 89 ) 

never previously published. 

The editor Christoph Flamm draws on autograph manuscripts, 

first printed editions and on Russian editions of the 9 0s to 

which he had access via personal contacts. 

Alexander Skrjabin 

Complete Piano Sonatas, Volume I 


Edited by Christoph Flamm 

BA 96 6 approx. € 3 .95 

To appear in December 0 0 

Allegro con fuoco q. = 104 

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For the first time the recordings of Sonatas nos. and 3 which 

Skrjabin made in 908 on paper rolls for the Hupfeld company, 

Leipzig are also taken into account. 

l Urtext edition reflecting the latest scholarship and 

taking previously unknown sources into account 

l Includes all fragmentary works, some published for 

the first time 

l Detailed foreword (Ger/Eng) and critical commentary 

(Eng) 



Title 

op. 6 

3

3 

Piano 

MOzart 


fantasie g-Moll und fuge g-dur 

fantasia in g minor and fuga in g major 

Sonatensatz B-dur 

Sonata Movement in B-flat major 

KV anh. 32 und 45, 42 


Wolfgang Amadeus Mozart 

Fantasia in G minor and Fuga in G major 

K. Anh. 32 and 45 / 

Sonata movement (Grave and Presto) 

in B-flat major K. 42 for two pianos 

n Of Mozart’s many fragmentary works, it is the Requiem 

which stands out, but there are many other fragments in his 

large compositional output which can ideally be used as a basis 

for a reconstruction. In the case of these two reconstructions 

for two pianos, the editor has drawn on thematically suitable 

fragments from Mozart’s piano sole repertoire and has arranged 

them for two pianos. In this way reconstructions are achieved 

which are based solely on authentic material. The result of this 

creative exercise is two new, highly effective concert works for 

two pianos, offering a valuable addition to Mozart’s two 

existing works for this combination. 

The editor took Abbé Maximilian Stadler's sensitive reconstruction 

of Mozart’s fragmentary Larghetto and Allegro in E-flat major 

for two pianos (K. deest) as a model for his reconstructions. 


Fantasia in G minor and Fuga in G major 

K. Anh. 32 and 45 / Sonata movement (Grave and 

Presto) in B-flat major K. 42 for two pianos 


Edited and completed by Michael Töpel 

BA 9638 approx. € 6.95 


l Urtext of the New Mozart Edition 

l Reconstructions of Mozart fragments in a practical 

performing edition 

l Foreword (Ger/Eng) and numerous facsimiles 

l Valuable addition to Mozart’s repertoire 

for two pianos 



Complete works for two pianos 

Sonata K. 448 / Fugue K. 426 

Urtext with fingerings 

Appendix I, Fragments: 

Larghetto and Allegro K. deest = Fr 78 f 

Grave and Presto K. Anh. 4 = Fr 78 b / 

Sonata movement K. Anh. 43 = Fr 78 c 

Allegro K. Anh. 44 = Fr 785d / 

Fugue K. Anh. 45 = Fr 785a 

Appendix II: Adagio K. 546, arrangement for two pianos 

by Michael Töpel 

BA 9 6 € .95 


Title

Piano 

JanáceK 


› 


capriccio 

pro klavír (levou rukou) 

a soubor dechových nástrojů 

for Piano (left hand) 

and Wind ensemble 

für Klavier (linke hand) 

und Bläserensemble 

Partitura a hlasy 

Score and Parts 

Partitur mit Stimmen 

Leoš Janáèek 

Capriccio pro klavír (levou rukou) 

a soubor dechových nástrojù 

Capriccio for Piano (Left Hand) 

and Wind Ensemble 

n One of Leoš Janáèek’s last chamber music works was written 

in the autumn of 9 6 at the suggestion of the pianist Otakar 

Hollmann ( 894– 967), an invalid from the First World War. Like 

his contemporary Paul Wittgenstein, Hollmann urged composers 

to write something for piano left hand; he succeeded in winning 

over Bohuslav Martinú, Erwin Schulhoff and Janáèek to do this. 

Janáèek did not want, as he put it, to compose a “dance for one 

leg”, but finally wrote a four-movement work with associations 

to military music, scored for piano, flute (piccolo), two trumpets, 

three trombones (preferably valve trombones because of the 

fast passages) and a tenor tuba. The French horn was allowed 

by the composer to substitute the tuba. The Capriccio was 

premiered by Otakar Hollmann and members of the Czech 

Philharmonic in Prague on March 9 8 in the presence of the 

enthusiastic composer. 

The new edition is based on volume E/5 of the Critical Complete 

Edition of the Works of Leoš Janáèek. 

Leoš Janáèek 

Capriccio pro klavír (levou rukou) 

a soubor dechových nástrojù 

Capriccio for Piano (Left Hand) 

and Wind Ensemble 


Edited by Leoš Faltus and Jarmila Procházková 


Title 

l Urtext based on the Critical Complete Edition of the 

Works of Leoš Janáèek 

l New foreword (Cz/Eng/Ger) by the editor Jarmila 

Procházková 

l Includes additional part for French horn 

Score and parts 

BA 9535 approx. € 44.95 


33

34 

Popular Choral Music 

Katrin Ehmer, Max Frey, 

Stefan Kalmer, Kurt Suttner 

Chor aktuell Female Voices 

n Chor aktuell has been an extremely successful series in 

German speaking territories. This series offers a large selection 

of popular pieces in many different musical styles, specifically 

for amateur choirs and schools. Now for the first time, we are 

able to introduce Chor aktuell to Europe with an edition of 

songs for a choral setting which is much in demand; female 

voices (SSAA and SMA). 

Chor aktuell Female Voices contains more than 70 choral 

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the world which cover musical styles such as pop, gospel, 

avant-garde and folk. Most pieces are of medium technical 

difficulty and include a clear straightforward piano 

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text translations in German and English and a helpful thematic 

listing of the contents, for example songs to be sung during 

the Christmas period or songs which deal with love. 

The editors are well-known and experienced choral directors 

who have distinguished themselves with the series Chor aktuell 

which includes many of their own frequently-sung arrangements. 

Katrin Ehmer, Max Frey, 

Stefan Kalmer, Kurt Suttner 

Chor aktuell Female Voices 

BE 498 approx. € 9.95 


Solveigs Lied 

M.: Edvard Grieg (1843–1907) 

norweg. T.: Henrik Ibsen (1828–1906) 

dt. T.: Christian Morgenstern (1871–1914) 

Andante V = 72 

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l 72 songs in many musical styles for female voices 

(SSAA and SMA) 

l International repertoire including songs from 

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Hungary 

l Medium technical difficulty 

l Gospel, pop, folklore, avantgarde 

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Contemporary Music / Complete Editions 

New Publications up to May 0 0 

Contemporary Music 

Beat Furrer 

XENOS III 

for percussion and strings 

BA 9774, Performance material available on hire 

Beat Furrer 

WÜSTENBuCH 

Music theatre after texts by Händl Klaus, 

Ingeborg Bachmann, Antonio Machado, 

Lucretius and from the Papyrus Berlin 30 4 


Philipp Maintz 

MALDOROR 

Opera in seven scenes after the “chants 

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Libretto by Thomas Fiedler 


Matthias Pintscher 

songs from Solomon’s garden 

for baritone and chamber orchestra 

BA 977 , Performance material available on hire 

occultation 

for solo trumpet, solo horn and ensemble, 

part three from “sonic eclipse“ 


Charlotte Seither 

Beschriftung der Tiefe von innen 

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Manfred Trojahn 

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Überschreibung II. Zustand 


Zwei Orchesterstücke 


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for orchestra (five-movement version) 

BA 97 5, Performance material available on hire 

Complete Editions 


New Edition to the Complete Works 

“New Bach Edition“ 

Series IX, Vol. 4: Complete Index 

Edited by Frauke Heinze and uwe Wolf 

BA 5 97 

Das deutsche Kirchenlied 

Series III 

Concluding Commentary Volume to Series III, 

Vols. 3 and 4 

General Editor: Joachim Stalmann, edited by Hans-Otto Korth 

BA 8366 

Christoph Willibald Gluck 

Complete Works 

Series IV, Vol. 11: L’Arbre enchanté (2nd version) 

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BA 5806 


Halle Handel Edition, Series I, Vol. 23 

Occasional Oratorio 

Edited by Merlin Channon 

BA 4089 

Monumenta Monodica Medii Aevi 

Subsidia Vol. VI 

Ordinariums-Gesänge in Mitteleuropa/ 

Chants from the Ordinary of the Mass 

in Central Europe 

Repertoire overview and catalogue of melodies 

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Petite Messe solennelle 

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35

36 

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