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The Programme New Publications Sheet Music 2/2013

New Issue Title

1

New Publications 2/2013: The Programme

Contents

Piano

Variable Instrumentation

Liszt: Sonata in B minor for Piano. BA 9650......................... 3 Beethoven: Concerto No. 2 in B-flat major for Pianoforte and Orchestra, op. 19. BA 9022.............4 Beethoven: Sonata in F minor for Piano op. 57 “Appassionata”. BA 10852.................................................... 5 Haydn: Complete Piano Sonatas IV. BA 10804.....................6 Schubert: Sonata in B-flat major for Piano D 960 BA 10860.................................................................................. 7

Spirituals (series combocom). BA 6699................................ 27

Organ Franck: Complete Works for Organ and for Harmonium Volume I BA 9291................................................................................ 8–9

String Instrument and Organ Jewish Prayer. Works for Viola (Cello) and Organ BA 11216...................................................................................10

Strings Paganini: 24 Capricci per Violino Solo op. 1 BA 9424 .................................................................................. 11 Gola: Violin Technique Volume 1: BA 9550 / Volume 2: BA 9551.........................12 Concert Pieces for Double Bass and Piano BA 9696...................................................................................13 Speckert: Folk for two Violins BA 10624................................................................................. 14 Bodunov: Classic Hits for Violin and Viola BA 10626..................................................................................15

Winds Gershwin: Rhapsody in Blue for Woodwind Quintet BA 8612....................................................................................28

Contemporary Music............................................ 29 Complete Editions.................................................... 29 Choir Telemann: Gelobet sei der Herr, der Gott Israel BA 5899-90........................................................................... 30 Bach: Festive Choral Settings from Cantatas BA 7527.....................................................................................31 Mendelssohn Bartholdy: Psalm 42 op. 42 BA 9074...................................................................................32 Bunk: Sacred Choral Music. BA 7548..................................... 33

Opera ...............................................................................34–35 Solo Voice Mozart: Concert Arias I–III BA 9181, BA 9182, BA 9183...........................................36–37 Dvořák: Cypresses. BA 9569.....................................................38

Opera

Chamber Music Brahms: Trio for Violin, Violoncello and Piano Opus 87 BA 9436................................................................................... 16 Dvořák: Major chamber music works ............................17–19 Suk: Piano Quartet in A minor op. 1. BA 9546.................... 20

Study Score

Rameau: Les Fêtes de l’Hymen et de l’Amour BA 8858-90............................................................................39 Rameau: Dardanus. BA 8854-90.............................................39 Janáček: Osud (Destiny). BA 9562-90.................................. 40 Handel: Arminio HWV 36. BA 4100-90................................ 41 Salieri: Prima la musica e poi le parole. BA 8811-90........ 42

Smetana: Má vlast. TP 557........................................................ 21

App Beethoven’s 9th Symphony...............43

Bärenreiter Urtext............................................ 22–26

Your Contacts................................................................ 44

New Issue Title

New Publications 2/2013: The Programme

2

Piano

A milestone in piano literature Sonate An Robert Schumann

Lento assai                               

   

p sotto voce



       

6

 

    

        

   

       

     

     

15



    

11





      

     

3           18                    p            

 



   

    

Allegro energico

 



      

     



     

f               

     



            

   

3

       3       

        

    

           3

       3

 

                     f marcato                        p agitato                                                       p                        

BA 9650

3

Franz Liszt: Sonata in B minor for Piano BÄRENREITER URTEXT Edited by Michael Kube BA 9650 · approx. € 11.95

© 2013 by Bärenreiter-Verlag, Kassel

Liszt’s Sonata in B minor, which appeared in 1854, is of outstanding significance within the piano sonata genre. Bärenreiter presents this work – still a musical challenge for every pianist – in a scholarly-critical Urtext edition by Michael Kube. The musical text remains faithful to the sources and the latest in musicological research has been incorporated. A clearly structured musical layout and practical page turns offer the best possible prerequisites for studying and understanding this unique work.

To appear in November 2013

• Scholarly-critical Urtext edition based on the latest research • With optimum page turns • Informative preface (Eng/Ger) and critical notes (Eng) on questionable readings and deviations in the sources

ISMN 979-0-006-53990-1

9 790006 539901

New Issue Title

3

New Publications 2/2013: The Programme

Piano

Based exclusively on authentic sources À Monsieur Charles Nikl Noble de Nikelsberg, Conseiller aulique de sa Majesté Impériale et Royale

Konzert Nr. 2 in B

für Klavier und Orchester Opus 19

  c  

ΩΩ ΩΩ    ΩΩ  ΩΩ    Ó

 a2   c 

ΩΩ  ΩΩ ΩΩ ΩΩ         Ó 

Allegro con brio Tutti

Flauto

f

Oboe I, II

f

Fagotto I, II

ΩΩ ΩΩ    ΩΩ  ΩΩ          Ó 

 c  

           Ó    

Corno I, II in Sib/B

Ludwig van Beethoven: Concerto No. 2 in B-flat major for Pianoforte and Orchestra, op. 19 BÄRENREITER URTEXT Edited by Jonathan Del Mar Score BA 9022 · approx. € 35.95 Piano reduction BA 9022-90 · approx. € 24.95 Critical Commentary BA 9022-40 · approx. € 39.95 Violin I BA 9022-74 · approx. € 4.50

Violini I

Violini II

Viole

Violoncelli e Bassi

{

f

 Tutti  c

{

  c  f

∑

]

  c     f

Pianoforte

[

∑

∑ 

Ó

p

∑

∑









∑

f

∑ 

p

   c 

 ΩΩ ΩΩ ΩΩ ΩΩ         Ó [

]

f

  c    f

ΩΩ ΩΩ     ΩΩ  ΩΩ   Ó

  Ó

  Ó

p

p

 p

BA 9022

 f

f

     Ó  º º º  º 

Ludwig van Beethoven

 

ΩΩ  ΩΩ ΩΩ  ΩΩ   Ó

[

]

a 2 ΩΩ ΩΩ         Ó º º [

]

 ΩΩ  ΩΩ ΩΩ  ΩΩ         Ó  

              Ó 

∑ Ó

Tutti   c                Ó      º  º º  º  p

f



 

p

Allegro con brio

    c  

 f

f

p

∑ 

 f

p

∑

ΩΩ ΩΩ     ΩΩ  ΩΩ 

 Ó

∑

       º º º º 

Ó

f

ΩΩ ΩΩ             º º p

 

ΩΩ ΩΩ         Ó º º

  

f

 f

 f

  ΩΩ  ΩΩ     Ó º º [

]

       Ó  º º º º  © 2013 by Bärenreiter-Verlag, Kassel

Although the sources to Beethoven’s piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account. Jonathan Del Mar’s scholarly-critical edition corrects misreadings of Beethoven’s autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work.

Violin II BA 9022-75 · approx. € 4.50

• First Urtext edition based on the authentic sources

Viola BA 9022-79 · approx. € 4.50

• Piano reduction with a separate solo piano part

Violoncello/Double bass BA 9022-82 · approx. € 4.50 Wind set BA 9022-65 · approx. € 37.95 Issue Title To appear in New November 2013

New Publications 2/2013: The Programme

4

• Numerous corrections in the orchestral parts

ISMN 979-0-006-54413-4

9 790006 544134

New Issue Title BA 9022

ISMN 979-0-006-54414-1

9 790006 544141

New Issue Title BA 9022-90

Piano

Beethoven’s “Appassionata” in a new light À Monsieur le Comte François de Brunsvik

Sonate op. 57 Allegro assai

 12    8       12  8

   

    

4

          

     

                     

9

       dan do        

13

pp

f

        

 p            

BA 10852



        

ff



 

   

  

                

 

 a tempo                          f

p



              

 

  

   

poco ritar                      



                   

  

16



             

 

                

 

  



             

pp

            



 

 

pp

    

 

                                               

               

   

f

p               

© 2013 by Bärenreiter-Verlag, Kassel

The Sonata in F minor op. 57 (1804/05), a key work in the classical sonata repertoire, is part of Bärenreiter’s ongoing publication of selected Beethoven piano sonatas in Urtext editions. The nickname “Appassionata” was ascribed to the sonata only in 1838, long after Beethoven’s death. This Urtext edition is edited by the Beethoven expert Jonathan Del Mar. His editorial approach and principles are explained in a precisely formulated critical commentary. With a clear well-presented layout and optimum page turns, this edition invites you to discover this fascinating sonata anew. A foreword by Misha Donat examines the genesis and significance of the work, supplemented by informative notes on questions related to historical performance practice.

Ludwig van Beethoven: Sonata in F minor for Piano op. 57 “Appassionata” BÄRENREITER URTEXT Edited by Jonathan Del Mar With an introduction by Misha Donat and notes on performance practice by Jonathan Del Mar and Misha Donat BA 10852 · approx. € 7.95 To appear in November 2013

• Scholarly-critical Urtext edition incorporating the most recent research

ISMN 979-0-006-52816-5

• Optimum page turns • Includes notes on historical performance practice (Eng/Ger)

9 790006 528165

New Issue Title

5

New Publications 2/2013: The Programme

Piano

The start of the publication of Haydn’s complete piano sonatas Sonate dédiée à son Altesse Madame La Princesse Marie Esterhazy née Princesse de Lichtenstein Hob. XVI:40

Allegretto e innocente

   68    p

2 4

 4 4 3 2                     

1    3

*)

[

2 4

]

3 1

2 1

     

3 1

3

3

4*)

4 2

[

]

To appear in December 2013

 

4

[ ]

2 4

2 4

1 3

 15          

2



f

             

1 3

1

3 5

2 4

p

               ¶ p                [

5

     f

]

5

 4 9 3 2  2     3   2   2                  fz fz p                                           

5

]

3                  [ ]

[ ]

1 3

[ ]

1 3

3 1

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pp

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BÄRENREITER URTEXT Edited by Bernhard Moosbauer With fingering and notes on performance practice by Rebecca Maurer BA 10804 · approx. € 22.50

4

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Joseph Haydn: Complete Piano Sonatas IV

4

5 5 2 3 3  42                fz *)  fz **)               

  

2  4 3       1 3 1.   4  2 4 2 2.   2                  3 2 3 f p p                1  ¶ Ω Ω                           2 4 5 1 1 3 1 2 3  3 4 5  4

5

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4 5 5  3  1 2 1   1.    2.                                        f    p                     piano sonatas  ¶    Hob. XVI:48–52) his later (Hob. XVI:40–42 and

      

21

[ ]

[ ]

In Haydn reveals himself to be a highly-profiled and consummate composer in terms of form and expression. The imaginative masterpieces are an indispensable component of all piano instruction. Volume IV marks the start of the publication of Haydn’s complete piano sonatas in Urtext editions. The editor Bernhard Moosbauer is a musician and musicologist who specializes in the performance of early music. This edition is supplemented by fingering, which enables important aspects of historical playing technique to be applied to the modern pianoforte, as well as notes on performance practice. *) Zur Ausführung siehe Hinweise zur Aufführungspraxis. / For execution see Notes on Performance Practice. **) Zur Differenzierung von f und fz siehe Vorwort und Critical Commentary. / For the difference of f and fz see Preface and Critical Commentary.

BA 10804

© 2013 by Bärenreiter-Verlag, Kassel

• Scholarly-critical Urtext edition including all sources • With detailed notes on performance practice (Ger/Eng) by Rebecca Maurer ISMN 979-0-006-53847-8

• Informative foreword (Ger/Eng) on the genesis and form of the work • Detailed critical commentary (Eng)

9 790006 538478

New Issue Title

New Publications 2/2013: The Programme

6

Piano

Schubert’s great piano sonata newly engraved Sonate in B beendet: 26. September 1828 finished: 26 September 1828

D 960 Molto moderato

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pp legato

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t                         

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                                                            

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20

  

pp

15

                     

                             

10

  

                                           

5

   

   





 

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 

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       pp                  . .

.

.

 

                                                . 23 u                                                                       

BA 10860

© 2013 by Bärenreiter-Verlag, Kassel

Schubert’s Sonata in B-flat major was composed in 1828 and is probably the last instrumental work which he completed. This Urtext edition edited by Walburga Litschauer contains an updated foreword (Ger/Eng) and a critical commentary (Eng) documenting all significant readings of the sources which are relevant for the interpretation of this work. It also takes Schubert’s idiosysncratic, sometimes unclear writing of accents into account. The edition is newly-engraved and contains practical page turns as well as information on performance practice issues by Mario Aschauer.

Franz Schubert: Sonata in B-flat major for Piano D 960 BÄRENREITER URTEXT Edited by Walburga Litschauer With notes on performance practice by Mario Aschauer and Schubert’s drafts of the individual movements BA 10860 · approx. € 10.95 To appear in October 2013 This new edition replaces the current edition (BA 5634).

• Scholarly-critical edition based on the New Schubert Edition • Newly engraved with a clear layout • With notes on performance practice (Ger/Eng) • Schubert’s drafts to this work can be viewed on the Bärenreiter

ISMN 979-0-006-54353-3

website

9 790006 543533

New Issue Title

7

New Publications 2/2013: The Programme

Organ

César Franck: Complete edition of his ... Fantasie (1854) (Pièce pour Grand Orgue) César-Auguste Franck (1822–1890)

  3e clav.     

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To appear in December 2013

ISMN 979-0-006-53899-7

9 790006 538997

New Issue Title

New Publications 2/2013: The Programme

8

    

  

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BÄRENREITER URTEXT In collaboration with the International César Franck Society Edited by Christiane Strucken-Paland With a preface by Daniel Roth BA 9291 · approx. € 29.95

Ó

    

5

César Franck: Complete Works for Organ and for Harmonium Volume I: Early Organ Works / Fragments



   

9

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     

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1er clav.

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     ™™     

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Ó ÓÓ   ™

 

© 2013 by Bärenreiter-Verlag, Kassel

Bärenreiter is publishing a new Urtext complete edition of César Franck’s organ works in collaboration with the International César Franck Society. 8 volumes are planned to be published. In addition to all the available sources, hitherto neglected manuscripts have been taken into consideration. In this way, a reliable musical text faithful to the original can be guaranteed. Deviations, doubtful readings and editorial changes are documented in a comprehensive critical commentary. The co-editors include Franck experts such as Christiane Strucken-Paland, Helga Schauerte-Maubouet, Ralph Paland, Tobias Hünermann and Holger Stüwe. A comprehensive foreword by the Franck specialist Daniel Roth is printed in the first volume. He gives a detailed account of many aspects of Franck’s organ practice and of the interpretation of his organ music. The edition, which presents such a comprehensive picture of Franck the organist, is supplemented by facsimiles and in-depth information about the relevant organ dispositions. Franck’s influence on French symphonic organ music can scarcely be overestimated.

Organ

... organ and harmonium works In addition to the “great” organ works, volume I also contains the first publication of all earlier organ works which have come down to us as well as fragments, variants and different versions (for example, of the Fantaisie in C major). Volume I contents: • Pièce en mi bémol (Fragment) • Andantino • Fantaisie (Pièce pour Grand Orgue) • Fugue du Concours du Dimanche 1840 • Prière (Fragment)

César Franck

• Preface (Fr/Eng/Ger) with detailed notes on performance practice • With a comprehensive critical commentary (Eng) • Numerous illustrations and facsimile pages Publication schedule: Volume 1: Early Organ Works / Fragments Edited by Christiane Strucken-Paland · (2013) Volumes 2 and 3: Six pièces Edited by Christiane Strucken-Paland · (2014) Volume 4: Trois pièces Edited by Helga Schauerte-Maubouet · (2015)

Christiane Strucken-Paland (Photo: Stefanie Kunde)

Volume 5: Trois chorals Edited by Ralph Paland · (2015) Volume 6: Harmonium Works Edited by Tobias Hünermann · (2016) Volume 7: L’Organiste I Edited by Holger Stüwe · (2016) Volume 8: L’Organiste II Edited by (name still to be confirmed) · (2017) New Issue Title

9

New Publications 2/2013: The Programme

String Instrument and Organ

Viola or Cello, plus Organ

Jewish Prayer Works for Viola (Cello) and Organ Includes two solo parts for viola and cello Edited by Semjon Kalinowsky BA 11216 · approx. € 19.95 To appear in November 2013

ISMN 979-0-006-54376-2

9 790006 543762

New Issue Title

New Publications 2/2013: The Programme

10

Jewish Prayer comprises works of the Jewish late Romantic tradition including one of the repertoire classics for strings Kol Nidrei by Max Bruch. This edition also contains other popular performance pieces such as The Hebrew Melody op. 23 by Albert Kellermann, Elohenu by Friedrich Gernsheim, Sarabande op. 8 by Joseph Sulzer and Prière by Fernand Halphen. These works can be played by professionals as well as experienced amateurs. For possible performances of the complete works, the volume has been compiled as if it were as a concert cycle and completed with a work for solo organ, the Five Festival Preludes by Louis Lewandowski. Semjon Kalinowsky was born in the Ukraine and studied viola at the State Conservatory of Music in Lemberg. He plays as a soloist and chamber musician and was awarded the title of Honoured Artist of Ukraine in 1998. • High-quality works of the Jewish late Romantic tradition • In addition to the solo part for viola there is also a part for cello • For professionals and amateurs alike

Strings

A wonderful addition to the solo violin repertoire 24 Capricci op. 1

Andante

  2     1   4                        



Niccolò Paganini

         

                                          

4

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                                                                 

15

                                 

19

21

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BA 9424

   

 

 

© 2013 by Bärenreiter-Verlag, Kassel

The 24 Caprices by Paganini form a coherent group of works which require the highest degree of technical expertise. Since their publication in 1817 the Caprices have remained the defining milestone of violin technique. Bärenreiter’s scholarly-critical edition is based on the autograph and early prints from various European publishers. The original beaming and articulation have been maintained, thereby setting this new edition apart from the many publications of the last 200 years which incorporated changes and emendations by famous violin virtuosos. In addition to the daunting Caprices, this is the first time that the 24 Contradanze inglesi for solo violin have been published. These simple pieces are each 16 measures in length and exploit various techniques, thus providing a wonderful addition to the solo violin repertoire. This edition offers a spacious layout with many fold-out pages allowing plenty of room to add personal fingering and bowing. A historical introduction in English and German discusses the genesis of the works and traces their influence on violin virtuosos. A source description and critical commentary round out this unique edition. • Includes the 24 Contradanze inglesi for the first time

Niccolò Paganini: 24 Capricci per Violino Solo op. 1 24 Contradanze inglesi per Violino Solo (First edition) BÄRENREITER URTEXT Edited by Daniela Macchione BA 9424 · approx. € 16.95 To appear in November 2013

ISMN 979-0-006-54081-5

9 790006 540815

• With fold-out pages • Large format edition: 25.5 x 32.5cm

New Issue Title

11

New Publications 2/2013: The Programme

Strings

New techniques to practise and improve shifting positions 25

31

III. Horizontální cvičení ve dvojhlase

III. Horizontale Übungen in Doppelgriffen

III. Horizontal exercises in double stops

Dvojhmatová technika je jak z intonačního, tak i z hmatového hlediska složitá. U kvart a sext se při přechodu na stejný interval směrem nahoru horní prst nezvedá, ale příčným, klouzavým pohybem přechází na vedlejší strunu. Při přechodu směrem dolů pak spodní prst přechází stejným způsobem. U kvintového hmatu se prst klade více šikmo (na bříško). Pro větší intonační citlivost je účinné cvičit odděleně spodní a horní hlas za současného hmatu obou prstů.

Die Doppelgrifftechnik ist sowohl in intonatori­ scher als auch in grifftechnischer Hinsicht schwie­ rig. Bei Quarten und Sexten hebt sich der obere Finger beim Aufwärtsrücken der Intervalle nicht, sondern vollzieht eine diagonale, gleitende Bewe­ gung, mit der er auf die Nachbarsaite wechselt. Beim Abwärtsrücken verfährt der untere Finger dann auf dieselbe Weise. Beim Quintgriff legt sich der Finger schräger (an den Ballen). Um die intonatorische Empfindsamkeit zu verbes­ sern, ist es ratsam, die obere und untere Stimme getrennt zu üben und dabei gleichzeitig mit beiden Fingern zu greifen.

The double stop technique is a complex matter both in intonation and in fingering. With fourths and sixths, do not raise the upper finger when shifting the same interval higher, but instead use a sideward, sliding motion to reach the next string. When shifting downwards, apply the same instructions to the lower finger. With fifths, the finger is placed at a greater angle (resting on its pad). To improve the sensitivity of intonation, it is advisable to practise the lower and upper tones separately while keeping both fingers stopped.

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Zdeněk Gola: Violin Technique Volume 1 BA 9550 · € 15.95 Volume 2 BA 9551 · € 14.95 Already published

ISMN 979-0-2601-0591-1

ISMN 979-0-2601-0592-8

9 790260 105911

9 790260 105928

BA 9550 Volume 1

BA 9551 Volume 2

New Issue Title

New Issue Title

New Publications 2/2013: The Programme

12

2

3

3 2 # # œœ n n œœ # # œœ n n œœ # # œœ n n œœ

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3 4

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2 3

1 2

simile

2

2

1

BA 9550

These exercises are intended for violinists who have a basic knowledge of shifting positions and how to play double stops. At first fixed positions and shifting are practised separately from one another in one and two part combinations. In the second volume these two techniques are combined and consolidated. The aim of these studies or études is to improve left-hand techniques, enabling the student to execute shifting positions with greater confidence. Gola’s Violin Technique should accompany the violinist throughout his career. The author Zdeněk Gola (*1929) studied at the Brunn Janáček Academy and was subsequently Professor of Violin at the Music Conservatory in Ostrava. In 1966 he emigrated to Sweden, where he made a name for himself as orchestral musician, concert master and soloist as well as pedagogue. He is the author of numerous educational works. • New methods to practise and improve shifting positions • With brief descriptions in three languages (Cz/Ger/Eng) • Advanced level of difficulty

Strings

Romance Kontrabass  Double Bass

  43

Andante

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Franz Anton Leopold Joseph Keyper (1756–1815) Klavierauszug / Piano reduction: Andreas Köhs 

          

    

Concert Pieces for Double Bass and Piano Edited by J. Peter Close and Holger Sassmannshaus

Double bass part and enclosed piano accompaniment BA 9696 · approx. € 19.95

BA 9696

This collection is conceived for young double bass players who wish to start performing in public. The edition contains 18 concert pieces which are easy to rehearse yet sound effective from the Baroque, Classical and Romantic periods. In addition there are newly composed pieces by the Polish bass player Boguslaw Furtok (*1967).

To appear in October 2013

The Editors Holger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker, Germany, as well as being a double bass teacher and musician in other ensembles. J. Peter Close teaches violoncello and double bass in Munich. From the contents: Beethoven, Adagio from the Sonatina for Mandoline and Harpsichord / J. S. Bach, Gigue / Pergolesi, Nina / Fauré, Après un rêve / Dancla, Polka / Tschaikowsky, Chanson triste / de Fesch, Sonate / Fauré, Sicilienne / Saint-Saëns, The Swan, among others. • Concert pieces for double bass and piano accompaniment

ISMN 979-0-006-52554-6

9 790006 525546

• Easy to medium level of difficulty • Ideal continuation of the string method Early Start on the Double Bass

New Issue Title

13

New Publications 2/2013: The Programme

Anglo-American folk music for two violins 14

Shenandoah Trad. q = 68 strong and proud

4 4

Violin 1

4 4

Violin 2

6

George A. Speckert: Folk for two Violins

4 4

3 4

3 4

4 4

3 4

2 Performance scores BA 10624 · approx. € 13.95

4 4 4 4

21

26

pizz.

mp

2 4

3 4

4 4

3 4

2 4

3 4

4 4

3 4

3 4

4 4

3 4

3 4

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3 4

3 4

2 4

3 4

4 4

3 4

2 4

3 4

4 4

arco

mf

To appear in September 2013

3 4

4 4

3 4

4 4

© 2013 by Bärenreiter-Verlag, Kassel

ISMN 979-0-006-54373-1

9 790006 543731

New Issue Title

Arrangements by Speckert already published: Popular Movie Hits for Violin and Piano BA 10605 · € 13.95 The Roots of Jazz for Violin and Violoncello BA 10606 · € 12.95 Tango Classics for Violin and Piano Issue BANew 10614 · €Title 12.95

New Publications 2/2013: The Programme

14

3 4

3 4

11

16

3 4

f

mp

BA 10624

This collection contains many well-known pieces from the AngloAmerican world which are catchy and of a dance-like quality. Some melodies are lively, some dreamy but all are easy on the ear. Both violinists are of equal importance and the melody moves frequently from one player to another. When the player takes on the accompanying role, he occasionally has to substitue the guitar and must play arpeggios and easy double stops. The melody part contains embellishments typical of the style. From the contents: Morning has broken, All through the night, Scarborough fair, The foggy dew, The rolling of the stones, I’ll fly away and others George Speckert is a composer, author and lecturer in multimedia production and E-learning. He has composed and arranged pieces for numerous Bärenreiter editions. • Well-known catchy folk music pieces • Evenly balanced parts • Entertaining and street music worthy

Appealing arrangements for violin and viola 12

Eine Kleine Nachtmusik Wolfgang Amadeus Mozart (1756–1791) (KV 525)

Allegro

Violin

c

Viola

c

f

f

5

10

p

p 15

sf

p

sf

p

p

sf

sf

Vladimir Bodunov: Classic Hits for Violin and Viola

p

20

f

cresc.

cresc.

f

25

p

2 Performance scores BA 10626 · approx. € 13.95

3

3

p © 2013 by Bärenreiter-Verlag, Kassel

BA 10626

To appear in September 2013 Well-known melodies from the Baroque, Classical and Romantic period are arranged by Vladimir Bodunov for violin and viola. Both players are of equal standing, the role of soloist and accompanist changing constantly. The arrangements stand out for their fidelity to the original works.

ISMN 979-0-006-54374-8

9 790006 543748

From the contents: Badinerie from the Orchestral Suite No. 2 (J. S. Bach), Eine kleine Nachtmusik (Mozart), Habanera from Carmen (Bizet), The Hall of the Mountain King from the Peer Gynt Suite (Grieg), Spring from The Four Seasons (Vivaldi) amongst others. The Author The arranger Vladimir Bodunov is a versatile musician from Belarus. He performs throughout Europe as a soloist, in orchestras and particularly in duo with his wife Marta Danilkovich. • Well-known melodies from the classical repertoire Both parts of equal importance • Ideal for playing at all different kinds of occasions

New Issue Title

Arrangements by Bodunov already published: Violin Classics for two Violins BA 10607 · € 12.95 Beautiful Adagios 9 Pieces for two Violins New Issue BA 10615 · €Title 12.95

15

New Publications 2/2013: The Programme

Chamber Music

Brahms’ piano trio in an Urtext edition Trio

Opus 87 Allegro (q = 138)

3 & 4 ˙

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BÄRENREITER URTEXT Edited by Christopher Hogwood Score with parts BA 9436 · approx. € 22.95 To appear in October 2013

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3 j œ œ ? œ ‰ œ œ œœœ œ œJ& œj œœ œ œJ ‰ ? ˙ œ ‰ œœ œ œJ œ œœ œ œœ ˙

BA 9436

œ œ

˙ ˙

œ œ

j œ‰Œ Œ œ

© 2013 by Bärenreiter-Verlag, Kassel

Bärenreiter’s new scholarly-critical edition of op. 87 edited by Christopher Hogwood is based on the score and parts from the first edition; where necessary he also consulted the autograph. The first edition parts were engraved after the manuscript parts and not after the score. Here the readings of the legato phrasing and the dynamics more accurately reflect the composer’s intentions than in the first edition score. • Informative introduction (Ger/Eng) with a valuable insight into the genesis and performance history of this work • In a larger format 25.5 x 32.5 cm • Includes a critical commentary (Eng) with facsimile pages

ISMN 979-0-006-54110-2

9 790006 541102

New Issue Title

New Publications 2/2013: The Programme

16

Chamber Music

Major chamber music works by Antonín Dvořák

Antonín Dvořák: Piano Quintet in A major op. 81 Edited by Antonín Čubr Score with parts BA 9573 ∙ approx. € 23.95 (replaces H 930) To appear in October 2013 Opus 81 has long been one of the pieces of chamber music most frequently played internationally. The present edition is based on the Complete Edition of the Works of Antonín Dvořák, the new detailed foreword is by David Beveridge. • One of the most frequently played chamber music works • New detailed foreword by David Beveridge (Cz/Eng/Ger)

The String Sextet in A major was composed during the time when Antonín Dvořák was beginning to become famous. It was written in 1878 during his so-called Slavic period, when the composer was specifically enriching his music with folk elements. This edition is based on the autograph copy as well as the first printed edition of 1879. • Dvořák’s only string quartet reprinted in a Bärenreiter edition • Based on the Complete Edition of the Works of Antonín Dvořák, volume IV/9

Antonín Dvořák: String Sextet in A major op. 48 Edited by Antonín Čubr Parts BA 9566 ∙ approx. € 25.95 (replaces H 2116) To appear in July 2013

ISMN 979-0-2601-0707-6

ISMN 979-0-2601-0586-7

9 790260 107076

9 790260 105867

BA 9573

BA 9566

New Issue Title

17

New Issue Title

New Publications 2/2013: The Programme

Chamber Music

Major chamber music works ...

Antonín Dvořák: Piano Trio in F minor op. 65 Edited by František Bartoš Score and instrumental parts BA 9564 ∙ approx. € 20.95 (replaces H 2143) To appear in August 2013

The third of Dvořák’s piano trios was written in 1883 in Prague; a revised version appeared in the autumn of 1883 published by Simrock in Berlin based on the direct collaboration with the composer. The principal source of this present edition, based on the Complete Edition of the Works of Antonín Dvořák, is this Simrock publication which presents the final version of the work. • New detailed forword (Cz/Eng/Ger) by Hans-Joachim Hinrichsen and Ivana Rentsch • Includes a newly-engraved violoncello part

ISMN 979-0-2601-0701-4

9 790260 107014

New Issue Title

New Publications 2/2013: The Programme

18

Chamber Music

... by Antonín Dvořák

Antonín Dvořák: String Quartet No. 5 in F minor op. 9

Dvořák’s String Quartet No. 5 in F minor of 1873 represents, musically speaking, a fundamental re-orientation of the composer. It has nothing that reminds one of his excessive admiration for the music of Wagner and Liszt. Instead, Dvořák re-establishes contact with the classical string quartet tradition. The autograph score, once in the possession of Dvořák’s heirs, is no longer accessible. This edition is based on the posthumously printed edition of 1929.

Edited by Jarmil Burghauser Parts BA 9545 · approx. € 17.95 (replaces H 6404) To appear in October 2013 Study score TP 535 · approx. € 16.50 To appear in October 2013

• Long-awaited reprint of this famous work • With a foreword by Jarmil Burghauser (Cz/Eng/Ger), updated and expanded by Hartmut Schick ISMN 979-0-2601-0570-6

ISMN 979-0-2601-0569-0

9 790260 105706

9 790260 105690

BA 9545

TP 535

New Issue Title

19

New Issue Title

New Publications 2/2013: The Programme

Chamber Music

First scholarly-critical Urtext edition Josef Suk, op. 1 (1874–1935)

Prof. Dru. Antonínu Dvořákovi Prof. Dru./ Antonínu Dvořákovi Klavírní kvartet a-moll Piano Quartet in A minor / Klavírní kvartet Klavierquartett a-moll / Pianoa-Moll Quartet in A minor /

Klavierquartett a-Moll

Violino

Josef Suk, op. 1 (1874–1935)

I

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Josef Suk: Piano Quartet in A minor op. 1 BÄRENREITER URTEXT Edited by Zdeněk Nouza

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Score and parts BA 9546 · € 29.50 (replaces H 7733)

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©© 2013 Praha 2013 by by Bärenreiter Bärenreiter Praha

The piano quartet of Josef Suk (1874–1935) quickly became a standard work, not least as a result of the extensive concerts given by the Bohemian Quartet, in which Suk was second violinist. This is however the first scholarly-critical edition of this work. It is based largely on the revision of the first edition which appeared in 1924 and contains Suk’s alterations of 1914. Further sources include the autograph manuscript as well as newly discovered copies of the parts. Valuable information has also been extracted from the printed parts as the original copies are now no longer extant. • First scholarly-critical edition • Includes a foreword (Cz/Eng/Ger) and critical commentary (Eng)

ISMN 979-0-2601-0574-4

by the editor • Standard work of Czech music

9 790260 105744

New Issue Title

New Publications 2/2013: The Programme

20

Study Score

Smetana’s “Má vlast” 90 (Venkovská svatba*))

Bedřich Smetana: Má vlast My Country BÄRENREITER URTEXT Edited by František Bartoš *) Village wedding / Bauernhochzeit

The first performance of Má vlast as a six-part symphonic cycle took place on 5 November 1882. With the founding of the Czech Philharmonic in 1896 this work received a far greater reception. Since 1952 the music festival Prague Spring has opened with this complete cycle.

Study score TP 557 ∙ approx. € 49.50 (replaces H 6427) To appear in September 2013

This edition is based on the Study Edition of the Works of Bedřich Smetana, vol. 14, supplemented by an up-to-date detailed foreword about the genesis and history of the work by Marta Ottlová. Contents Vyšehrad / Vltava (The Moldau) / Šárka / Z Českých luhů a hájů (From Bohemia’s Woods and Fields) / Tábor / Blaník • New foreword by Marta Ottlová (Cz/Eng/Ger) • Urtext based on the Study Edition of the Works of Bedřich Smetana

ISMN 979-0-2601-0600-0

9 790260 106000

New Issue Title

21

New Publications 2/2013: The Programme

“ After so many cantatas I only play for fun. My original work is for the fans.”

But what is an urtext edition? At Bärenreiter the label “urtext” describes a scholarly-

Bärenreiter Urtext: Your next performance is worth it. Think of the time you spend practising and rehearsing

for lessons and concerts. Can you really be sure that the

music you play from reflects what the composer wanted? Indeed, works have always been edited reflecting the

taste of the time, often leading to a gradual deviation from what the composer had in mind. Most copied

or downloaded music comes from old, heavily edited or even faulty editions. How disappointing to realise that

you have wasted your time and energy on a musical text you cannot trust.

New Issue Title

With Bärenreiter Urtext editions you can have confidence New Publications 2/2013: Thetext. Programme in the validity of the musical

22

critical edition based on all known sources.

In the past, it has often been difficult for musicians

to really know if what they were playing was true to

the composer’s intentions. Publications were heavily elaborated with editors’ own – often questionable –

additions and interpretations. In order to adequately

judge the quality of an edition, musicians would need to examine manuscripts and sources themselves.

Bärenreiter takes on all this background work for you, our aim being to produce urtext editions reflecting

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to travel around the world to track down sources for

a composition. They work like detectives, deciphering manuscripts which are sometimes almost illegible and evaluating conflicting sources.

“ I like the digital age, but nothing compares to the original.”

Debussy, Sonata for

Violoncello and Piano,

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m. 18, Bärenreiter

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of your inThink this case the autograph only provides part of the story of a composition. As many sources as possible next performance need to be assessed in order to compile a Bärenreiter

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Build your personal music library with Bärenreiter Urtext No cost or effort is spared by Bärenreiter when it comes editions. Make our editions your own. Take advantage to amassing and piecing together all the available of our expertise and complement it with your personal information. An indispensable part of every urtext edition markings and comments which you will be able to refer is the critical commentary where all editorial decisions to all your life. and discrepancies between the sources are meticulously Make a Bärenreiter edition a life-time investment. recorded. Only in this Urtext way can the true genius of the Your nextand performance worth it. composer his work beisrevealed.

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Debussy, Sonata for

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,I A ? B the label Bärenreiter Urtext. Integral parts of Bärenreiter

intended, especially when we have no recordings of

• Information on the genesis and history of the work

the performances. Simply looking at the autograph –

assuming it exists – is not enough. What if the composer made corrections in the first printed edition? Obviously in this case the autograph only provides part of the

story of a composition. As many sources as possible

need to be assessed in order to compile a Bärenreiter

Urtext edition including sketches, letters, autographs, manuscript copies, proofs, first editions, first editions with autograph corrections, contemporary reviews and comments by contemporaries.

No cost or effort is spared by Bärenreiter when it comes



Urtext editions are:

BB B O B B  Valuable notes on performance practice  ( I B A critical commentary explaining all source

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22

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recorded. Only in this way can the true genius of the

• Superior paper and binding

New Publications 2/2013: The Programme composer and his work be revealed.

24

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Bärenreiter Urtext: Your next performance is worth it.

Free promotional material

Gifts for sale (net prices)

Flyer Urtext SPA 101-7 · 6 pages Din A 4, English SPA 101-9 · 6 pages Din A 4, Japanese

Postcards: each € 4.00 BA 8097-1 · Bach BA 8097-2 · Beethoven BA 8097-3 · Brahms BA 8097-4 · Mozart BA 8097-5 · Schubert 20 postcards in a set

Mobile SPA 101-6 · 5 Motive Size of each image: Din A 5 Flags SPA 101-1 · Bach SPA 101-2 · Beethoven SPA 101-3 · Brahms SPA 101-4 · Mozart SPA 101-5 · Schubert New Issue Title Size 50 x 150 cm

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26

Magnets: each € 2.50 BA 8098-1 · 5 different magnets in a set Pencils Faber Castell: each € 2.00 BA 8099-1 · 10 pencils BA 8099-3 · 100 pencils with display box

Variable Instrumentation

Spirituals for flexible instrumentation Graham Buckland has arranged a rich variety of spirituals in this edition for variable instrumental ensemble. This edition consists of a full score and five individual instrumental parts. The full score includes a part of piano, keyboard or guitar and also contains the texts to the spirituals for a singer. In some cases additional vocal parts ad libitum are added. All arrangements are compatible with the edition for choir 64 Spirituals a cappella (BA 7574). The parts include: • • • • •

Melody I in C and Bb (violin clef) Melody II in C and Bb (violin clef) Melody III in C (violin clef; bass clef) Melody III in C and F (viola clef; horn part) Melody III in Bb and Eb (violin clef)

From the contents: Open the window / Go down, Moses / Wade in the water / Joshua fit the battle of Jericho / Amen / Go, tell it on the mountains / King of Kings / Oh when the Saints / Hard trials / O sinner-man / It’s me, Oh Lord / Amazing grace

• For variable ensemble • Texts to the spirituals included for singers

Combocom Spirituals 12 Arrangements for variable instrumentation by Graham Buckland Score and parts in C/B/F/E-flat Series combocom BA 6699 · approx. € 20.50 To appear in September 2013 ISMN 979-0-006-53605-4

9 790006 536054

New Issue Title

• Level of difficulty: easy to medium • Compatible with 64 Spirituals a cappella (BA 7574)

Already published:

64 Spirituals a cappella New Issue BA 7574 · €Title 17.95

27

New Publications 2/2013: The Programme

Winds

Appealing arrangement for woodwind quintet Clarinetto

Rhapsody in Blue George Gershwin Bearbeitung / Arrangement: Joachim Linckelmann

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15

George Gershwin: Rhapsody in Blue for Woodwind Quintet Arranged by Joachim Linckelmann Score with parts BA 8612 · € 24.95 Already published No distribution rights for the USA

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22

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© 2013 by Bärenreiter-Verlag, Kassel

Everyone knows the famous clarinet glissando opening to Gershwin’s Rhapsody in Blue, but how many know that the original version was scored for two pianos and that the glissando was initially just an ascending scale? Joachim Linckelmann’s superb arrangement of this modern classic is based on this original version and, with the exception of two solo piano passages that cannot be realized by a woodwind quintet, the entire work is presented. • A major addition to the woodwind quintet literature • Includes a score and five parts • Medium level of difficulty

ISMN 979-0-006-54372-4

9 790006 543724

New Issue Title

New Publications 2/2013: The Programme

28

Contemporary Music / Complete Editions

New publications up to May 2013 Contemporary Music

Complete Editions

Works for Sale

Franz Berwald Complete Works, Volume 20 (Part volumes a and b) Modehandlerskan Edited by Margareta Rörby BA 4920-01

Matthias Pintscher Shining forth for trumpet in Bb or C BA 9334 Manfred Trojahn Mendelssohns Möwen ein Lied ohne Worte for violoncello solo BA 11043 Dominik Susteck Zwischenklänge (2011) for organ solo Series organova, volume 10 Edited by Zsigmond Szathmáry BA 11045

Works for Hire Dieter Ammann unbalanced instability Concert setting for violin and chamber orchestra BA 11117-72 Beat Furrer XENOS III for Ensemble (completed version in three movements) BA 9774-72 Thomas Daniel Schlee Rufe zu mir, symphonic scene for organ and orchestra op. 80 BA 11108-72 Miroslav Srnka Piano Concerto BA 11112-72 Manfred Trojahn Libera me for tenor, two bassett horns and low strings BA 11111-72 Contrevenir Musique à la mémoire de H. W. Henze for ensemble BA 11114-72

Gabriel Fauré Œuvres complètes, Series VI, Volume 2 Ballad op. 19, Barcarolles, Valses-Caprices Edited by Christophe Grabowski BA 9468-01 George Frideric Handel Halle Handel Edition, Series I, Volume 9.2 Acis and Galatea (second version) Edited by Artie Heinrich BA 10700 George Frideric Handel Halle Handel Edition, Series III, Volume 1 Dixit Dominus Revised new edition Edited by Hans Joachim Marx BA 10704-01 George Frideric Handel Halle Handel Edition, Series II, Volume 29 Arianna in Creta Edited by Reinhold Kubik BA 10705 Johann Pachelbel Complete Vocal Works Volume 10: Motets Edited by Wolfgang Hirschmann BA 10560

New Issue Title

29

New Publications 2/2013: The Programme

Choir

Dramatic oratorio

Corno I Corno II Corno III Corno IV Timpani Soprano Violino I Oboe Alto Violino II ISRAELITEN Tenore Viola Basso

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BA 5899

© 2013 by Bärenreiter-Verlag, Kassel

Notenbeispiel aus: Partitur BA 5899

BÄRENREITER URTEXT Edited by Ute Poetzsch Vocal score (Ger) Piano reduction by Andreas Köhs BA 5899-90 · approx. € 17.95 Performance material on hire To appear in November 2013

Georg Philipp Telemann’s two-part oratorio for St. John’s Day appeared as part of the “great oratorio year” of 1730/31. Originally performed in two parts, before and after the sermon in the Divine Service, Telemann’s work now belongs rather to the concert hall repertoire. This hitherto unknown work, which lasts 45 minutes, is richly scored for soloists including 2 sopranos, alto, tenor and 3 basses accompanied by strings, flutes, oboes, horns and timpani, with further soloists and choirs also being employed. Performances are planned for the Magdeburg Telemann Festival in March 2014 and the Handel Festival in Halle in June 2014. • Interesting addition to the repertoire for church as well as concert choirs

ISMN 979-0-006-54350-2

• Urtext edition based on the Telemann Musical Works • Performance practice orientated vocal score (Ger) • Bilingual preface (Ger/Eng)

9 790006 543502

New Issue Title

New Publications 2/2013: The Programme

30

Choir

Choir & Organ series: Bach cantatas 11

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BA 7527

These arrangements for choir and organ meet the frequently made request to be able to perform well-known movements from Bach cantatas without the expense of a larger ensemble/orchestra. The cantata movements can be performed in accordance with the church year, but are also suitable for performance in festive services and concerts.

Johann Sebastian Bach: Festive Choral Settings from Cantatas Arranged for Choir and Organ by Ingo Bredenbach Choir & Organ series BA 7527 · approx. € 13.95* BA 7527-67 Separate organ part available print on demand To appear in August 2013

From the contents: Gott, wie dein Name, so ist auch dein Ruhm (BWV 171/ 1) / Bleib bei uns, denn es will Abend werden (BWV 6/ 1) / Wer da gläubet und getauft wird (BWV 37/ 1) / Also hat Gott die Welt geliebt (BWV 68/ 1) / Bringet dem Herrn Ehre seines Namens (BWV 148/ 1) Ingo Bredenbach has been working as Cantor and Organist in Tübingen since 2010. Until 2009 he was Professor and Rector at the Hochschule for Kirchenmusik in Tübingen. He has already arranged Gabriel Fauré’s Requiem for the Choir & Organ series. • Festive choral movements (Ger/Eng), arranged for choir and organ

ISMN 979-0-006-54295-6

9 790006 542956

• For church services and concerts • Easy-to-play organ reductions

New New Issue Issue Title* Title

31

New Publications 2/2013: The Programme

Choir

“As the hart pants …”

Felix Mendelssohn Bartholdy: Psalm 42 op. 42 BÄRENREITER URTEXT Edited by John Michael Cooper Piano reduction by the composer Score BA 9074 · approx. € 34.95 Vocal score (Ger/Eng) BA 9074-90 · approx. € 9.50 Set of winds BA 9074-65 · approx. € 59.00 Organ BA 9074-67 · approx. € 8.95 Violin I BA 9074-74 · approx. € 4.95 Violin II BA 9074-75 · approx. € 4.95 Viola BA 9074-79 · approx. € 4.95 Violoncello BA 9074-82 · approx. € 4.95 Double bass BA 9074-85 · approx. € 4.95 To appear in December 2013

BA 9074

The setting of Psalm no. 42 op. 42 Wie der Hirsch schreit nach frischem Wasser (As the hart pants after the waterbrooks) for soloists, mixed choir and full orchestra dates back to 1837. The well-known Mendelssohn specialist John Michael Cooper has evaluated the first printed edition of the score prepared by the composer himself as well as taking all other important sources into account. This Urtext edition is rounded off by a detailed critical commentary (Ger/Eng). The piano reduction is by Mendelssohn and is an authentic part of this edition. • Psalm with a large orchestral scoring in a Urtext edition • Bilingual foreword (Ger/Eng) • Original German as well as English text • Includes a piano reduction by the composer

ISMN 979-0-006-53024-3

9 790006 530243

BA 9074-90 New Issue Title

ISMN 979-0-006-53016-8

9 790006 530168

BA 9074 New Issue Title

New Publications 2/2013: The Programme

32

Choir

First ever Urtext-Edition 45

Selig  seid  ihr  Armen (Lukas  6:  20,  24,  25,  21)

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An  Carl  Holtschneider

Gerard  Bunk,  Op.  77

Ein wenig langsam (stets mit größter Empfindung!)

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Gerard Bunk: Sacred Choral Music BÄRENREITER URTEXT Edited by Jan Boecker and Klaus Eldert Müller BA 7548 · € 12.95

BA  7548

Already published The public awareness towards Gerard Bunk’s organ works is growing due to concerts and publications which have appeard. His choral music, however, has so far remained virtually unknown. This first Urtext edition presents his four most important choral works (op. 47, op. 72, op. 77 and op. 83), ranging from three-part female choir right through to eight-part mixed choir. These works are ideal for ambitious choirs who wish to broaden their repertoire to include appealing music in the late Romantic style and which can be performed in concerts as well as church services. The Editors Jan Boecker is the grandson of Gerard Bunk and editor of the organ and choral works of his grandfather. Klaus Eldert Müller has been Choirmaster and Organist at the Stadtkirche St. Reinoldi in Dortmund since 2005.

ISMN 979-0-006-52978-0

• First ever publication of Bunk’s choral works • With a detailed foreword and critical commentary (Ger/Eng) • Extension of repertoire for ambitious choirs • Choral music in the late Romantic style

9 790006 529780

New Issue Title

33

New Publications 2/2013: The Programme

Historical-critical Hybrid Editions Subscription Offer OPERA: Spectrum of European Music Theatre in Separate Editions is dedicated to critical editions of outstanding works of European music theatre from the 17th to the 20th centuries. A total of 21 compositions of French, Italian, German, English, Scandinavian and Slavic origin is being edited. These include specific genres which have seldom been given attention in editorial undertakings until now and which present their own editorial problems, such as ballet, theatre music, melodrama or operetta. A new feature is the form of the presentation in so-called hybrid editions. While the scores appear in traditional cloth-bound volumes, the musical and textual sources, the editions of the dramatic texts, as well as the critical commentaries are prepared and presented on an electronic platform (Edirom). Thanks to this ability to access the underlying sources, the editorial decisions are completely transparent to the user. This special editorial access being implemented by OPERA’s editions uses the software Edirom, which was developed in a project of the Deutsche Forschungsgemeinschaft (German Research Foundation) based at the University of Paderborn. All components of the electronic part are encoded according to the modern standard of XML. The text components follow the standard of the Text Encoding Initiative (TEI).

The first volumes to appear • Antonio Salieri, Giambattista Casti: Prima la musica e poi le parole (1786); Ed. Thomas Betzwieser/Adrian La Salvia · BA 8811 • Adolphe Beno t Blaise, Marie-Justine-Beno te Favart: Annette et Lubin (1762); Ed. Andreas Münzmay · BA 8812 • Thomas Arne, Isaac Bickerstaff: Love in a Village (1762); Ed. N.N. · BA 8814 • Ferdinando Paër, Giacomo Cinti: Leonora ossia L’amor conjugale (1804); Ed. Norbert Dubowy · BA 8813 • Peter von Lindpaintner, Johann Wolfgang von Goethe, Carl Seydelmann: Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl New Issue Title(1832); Ed. Antje Tumat · BA 8815 Seydelmann

New Publications 2/2013: The Programme

34

The editorial project OPERA, based at the Goethe University Frankfurt am Main (until the end of 2012 at the University of Bayreuth), started its work in 2009 under the sponsorship of the Akademie der Wissenschaften und der Literatur Mainz. The project is headed by Thomas Betzwieser, professor of historical musicology at the Goethe University Frankfurt am Main.

The Subscription The volumes of the historicalcritical hybrid edition OPERA can be purchased individually and, for a limited time, at a reduced introductory price. They can also be ordered on subscription at reduced prices. Each volume contains a preface in German and English along with the language of the individual work.

From the main navigator (top right) each desired item may be opened separately. Individual readings from the music and the text editions as well as from the sources are accessed by clicking on the red icons. For each individual reading all relevant sources are displayed in windows, enabling a direct comparison and overview. All windows have zoom and navigation capabilities.

25.5 x 32.5 cm, cloth-bound All of the musical and textual sources, the editions of the dramatic texts, the editions of the music, as well as the critical commentaries for each volume are available on a credit-card style USB flash drive. The first volume: Salieri/Casti, Prima la musica e poi le parole, BA 8811 Subscription price: approx. € 320.00 Special introductory price valid until 30 April 2014: approx. € 338.00 Retail price from 1 May 2014: approx. € 376.00

A synoptic view of music and text editions searched either by numbers, scenes, measures or text is made possible by an interconnecting Issue Title concordance tool which offers navigationNew by mouse click.

35

New Publications 2/2013: The Programme

Solo Voice

Mozart concert arias in five volumes 77

Aria “Vorrei spiegarvi, oh Dio!” KV 418

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{ Wolfgang Amadeus Mozart: Concert Arias BÄRENREITER URTEXT Compilation and foreword by Thomas Seedorf Notes and suggestions on perfomance practice by Thomas Seedorf and Uwe Kremp Piano reductions by Christian Beyer

Concert Arias I for High Soprano BA 9181 · € 26.95 To appear in October 2013

ISMN 979-0-006-54130-0

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BA 9181

These vocal scores of Mozart’s concert and insert arias are based on the New Mozart Edition (NMA). The first three volumes comprise all arias for soprano and orchestra. They are classified according to voice type (high soprano, soprano, low soprano and alto) and arranged chronologically within the volumes. Unlike the NMA the musical text presented in these editions is free from practical references on performance aspects or suggestions on performance practice. Instead, each volume contains a comprehensive supplement, with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria. In addition, there is a choice of suggestions for the performance of cadenzas and lead-ins as well as a suggestion for the ornamentation of dal segno parts, which are often found in the early Mozart arias. The volumes for tenor and bass are available from 2014. • Arrangement of arias according to voice type

9 790006 541300

• Underlaid text presented in the original language only • All aria texts are translated into German and English and are

New Issue Title

New Publications 2/2013: The Programme

36

printed seperately

Solo Voice

• Idiomatic piano reductions to the individual arias • Clear and legible layout of the musical text as all additional notes and suggestions on performance practice appear in the supplement published with each volume • Performance material on hire to each aria (Please refer to the relevant volume for further information) Contents Concert Arias I for High Soprano Recitativo A Berenice – Aria (Licenza) Sol nascente, K. 70 (61c) Aria Fra cento affanni, K. 88 (73c) Aria Non curo l’affetto, K. 74b Recitativo Alcandro, lo confesso – Aria Non sò d’onde viene, K. 294 Recitativo Popoli di Tessaglia! – Aria Io non chiedo, eterni Dei, K. 316 (300b) Recitativo Ma che vi fece, o stelle – Aria Sperai vicino il lido, K. 368 Arie Der Liebe himmlisches Gefühl, K. 119 (382h) Recitativo Mia speranza adorata! – Aria Ah non sai qual pena sia, K. 416 Aria Ah! spiegarti, oh Dio, K. 178 (125i/417e) Aria Vorrei spiegarvi, oh Dio!, K. 418 Aria No, che non sei capace, K. 419 Aria Ah se in ciel, benigne stelle, K. 538 Concert Arias II for Soprano Aria Per pietà, bell’idol mio, K. 78 (73b) Recitativo Oh, temerario Arbace! – Aria Per quel paterno amplesso, K. 79 (73d) Recitativo Misero me! – Aria Misero pargoletto, K. 77 (73e) Aria Se ardire e speranza, K. 82 (73o) Aria Se tutti i mali miei (first version), K. 83 (73p) Aria Se tutti i mali miei (revised version), K. 83 (73p) Aria Voi avete un cor fedele (K. 217) Recitativo Ah, lo previdi – Aria Ah, t’invola agl’occhi miei – Cavatina Deh, non varcar, K. 272 Recitativo Basta, vincesti – Aria Ah non lasciarmi, no, K. 486 (295a) Recitativo Misera, dove son! – Aria Ah! non son io che parlo, K. 369 Recitativo A questo seno – Rondeau Or che il cielo, K. 374 Aria Nehmt meinen Dank, ihr holden Gönner!, K. 383 Recitativo Ch’io mi scordi di te? – Rondo Non temer, amato bene, K. 505 Recitativo Bella mia fiamma – Aria Resta, oh cara, K. 528 Concert Arias III for Low Soprano and Alto Aria Conservati fedele, K. 23 Aria Cara, se le mie pene, K.6: deest Aria Alma grande e nobil core, K. 578 Aria Chi sà, chi sà, qual sia, K. 582 Aria Vado, ma dove? oh Dei!, K. 583 Recitativo Ombra felice – Aria Io ti lascio, K. 255

Concert Arias II for Soprano BA 9182 · € 29.95 To appear in November 2013 ISMN 979-0-006-54131-7

9 790006 541317

New Issue Title

Concert Arias III for Low Soprano and Alto BA 9183 · € 19.95 To appear in December 2013 ISMN 979-0-006-54132-4

9 790006 541324

New Issue Title

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New Publications 2/2013: The Programme

Solo Voice

First Urtext edition of this song cycle Cypřiše / Cypresses / Zypressen I

 6  4

Moderato

       



 

vrou - cí pí - sně

   

  

BÄRENREITER URTEXT Song cycle based on texts by Gustav Pfleger-Moravský Edited by Andreas Frese BA 9569 · approx. € 23.95 To appear in September 2013

 

  

   

pěj - te

 

tou

   

    

dej - te,

no

-

  

   

    

  

   

 

 

 

           

cí v mži - vou dál;

   

jež

 

-

      

ží

 

ti - chý

   

žal!

  

p

   

 

všem po - zdra - ve - ní

   

   

           Tam

 

   pp

         

 

      

                 

   

            

                

je mil - ka

dlí,

a

rce - te, co mne bo

fp

 

-

lí,

    

BA 9569

kde

         

                     mo -

  

spěj - te přes pa - do - ly,

                                    

15

rit.

                                        

10

Antonín Dvořák: Cypřiše Cypresses for High Voice and Piano



                     

        

  6  4

  

Vy

 6  4

5

Antonín Dvořák, B 11

        a

 

rce - te, co mne bo

fp

      

-

    

    f

© 2013 by Bärenreiter Praha

Dvořák, firmly convinced of his love for one of the daughters of the Čermák family, probably the older Josefina, wrote his first song cycle Cypresses in 1865 when he had just turned 24. Even though his arrangement for string quartet is one of the best-known works today, the original version of the songs of 1865 remained in manuscript form until now. This first ever Urtext edition is based on the autograph. Later versions as well as the printed collection of poems by Pfleger from 1862 were also drawn upon as sources. The musical text is accompanied by an instructive introduction written by the Dvořák scholar David Beveridge. • First ever Urtext edition of an early work by Dvořák

ISMN 979-0-2601-0703-8

• With translations of the song texts (Eng/Ger) • Detailed introduction by David Beveridge (Eng/Ger/Cz) and a critical commentary (Eng)

9 790260 107038

New Issue Title

New Publications 2/2013: The Programme

38

Opera

For the Rameau jubilee year 2014

Jean-Philippe Rameau: Les Fêtes de l’Hymen et de l’Amour

Music example from: Dardanus · BA 8854-90

The first version of Dardanus, which was performed at the end of 1739, was composed apparently in only six months and marks a particularly productive phase in Rameau’s career. In a period of only six years five of his major works were performed at the Académie Royale de Musique in Paris. The theme is taken from Greek mythology: The opera describes the war between Teucer (the future founder of Troy), his Phrygian people and the army of Dardanus. Les Fêtes de l’Hymen et de l’Amour was performed on 15 March 1747 on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Manège de la Grande Écurie in Versailles. This second collaboration between Rameau and Cahusac makes use of the “ballet héroïque” genre, usually known today as “opéra-ballet” based on various story lines which run independently of each other. The score is based on a libretto inspired by Egyptian mythology and freemasonry.

Ballet héroïque in 1 Prologue and 3 Entrées Libretto by Louis de Cahusac Edited by Thomas Soury Piano reduction by François Saint-Yves Vocal score (Fr) BA 8858-90 · approx. € 49.50 To appear in August 2013

Dardanus (version 1739) Tragédie in a prologue and 5 acts Libretto by Charles-Antoine Le Clerc de la Bruère Edited by Denis Herlin Piano reduction by François Saint-Yves Vocal score (Fr) BA 8854-90 · € 69.00 Already published

ISMN 979-0-006-52792-2

• Milestones of French Baroque opera in performance practice orientated vocal scores • With a brief foreword (Fr/Eng) containing salient information on the

9 790006 527922

genesis of the work, the synopsis and the edition

New Issue Title BA 8854-90

39

BA 8858-90

New Publications 2/2013: The Programme

Opera

First critical Urtext edition

Leoš Janáček: Osud Destiny BÄRENREITER URTEXT Three novel-like scenes of Fedora Bartošová Edited by Jiří Zahrádka Piano reduction by Rasmus Baumann German translation by Claus H. Henneberg Vocal score (Cz/Ger) BA 9562-90 · approx. € 39.95 Performance material available on hire (OM 2903) To appear in November 2013

Janáček’s opera Osud is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janáček in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the Complete Critical Edition of the Works of Leoš Janáček. • First critical edition of this opera • Foreword on the genesis of the work and its reception by

ISMN 979-0-2601-0704-5

Jiří Zahrádka (Cz/Eng/Ger) • New idiomatic piano reduction by Rasmus Baumann • Singable German translation

9 790260 107045

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New Publications 2/2013: The Programme

40

Opera

Arminius as operatic hero 104

ATTO TERZO

DRITTER AKT

Scena I

I. Szene

Hof in der Burg des Segestes, mit einem schwarz ausgelegten Blutgerüst Volk an den Fenstern, und um das Blutgerüst herum römische Legionen mit Standarten ARMINIUS in Ketten, dann VARUS von einer Seite und SEGESTES von der anderen, später TULLIUS

Piazza nel castello di Segeste, con palco apparato di nero Popolo alle finestre, ed intorno il palco legioni romane colle insegne ARMINIO incatenato, poi VARO da una parte, e SEGESTE dall’altra, e poi TULLIO

20. Sinfonia ed Accompagnato Largo e staccato

3

ARMINIO

A. Fier te a tro di Grau si ger Schau platz des

6 A. mor To

te! des!

or ri da sce Furcht ba rer An

na! blick!

For se cre de te Glaubt ihr viel leicht, ihr

8 A. di spa ven tar voi könnt mein tapf ’ res Herz

in tre pi da que st’al ma? da durch in Angst ver set zen?

Eh! no; Oh nein,

BA 4100-90

Antonio Salvi’s Arminio is one of the best-loved operatic librettos of the Baroque period. Against the historical background of the so-called Battle of the Teutoburg Forest in 9 AD in which the Cherusci leader Arminius as “Liberator of Germany” (Tacitus) inflicted a devastating defeat on the Romans, Handel’s opera, first performed in 1737, is about the quarrels between the Chatti and the Cherusci. Arminius has married the daughter of his arch-enemy Segestes. When he is imprisoned, Segestes, who has conspired with the Romans, sees his opportunity for revenge.

George Frideric Handel: Arminio HWV 36 Opera in three acts Libretto by Antonio Salvi BÄRENREITER URTEXT Edited by Michael Pacholke Piano reduction by Andreas Köhs German translation by Peter Brenner Vocal score (Ital/Ger) BA 4100-90 · approx. € 29.95 Performance material available on hire To appear in November 2013

• Urtext edition based on the Halle Handel Edition • Libretto in Italian with singable German translation • Comprehensive foreword (Ger/Eng) on the genesis of the work and its reception • Idiomatic piano reduction

ISMN 979-0-006-54280-2

• First performance in Halle in 2014 9 790006 542802

New Issue Title

41

New Publications 2/2013: The Programme

Opera

Charming satirical opera 27

120

& œJ œJ ‰ œR œR œ - ta - to, Ja - hre

j j j j j œ œ b œJ œJ œJ œJ œ œ œJ œR œR n œJ œJ ‰ œ œJ œJ œJ œJ

o - vein men di due an - niho gua - da - gna - to mil - le do - blo - ni in tan - ti pez - zi mei - ne Kunst ih - ren Lohn er - hielt durch ba - re tau - send Du - blo - nen, in lau - ter har - ten

ww

˙˙

& ? nw

˙˙ ˙

<piano> (al Poeta)

r œ œ j ? œ œ œ & œJ œ Œ ‰ J R R œR œ J J MAESTRO <leise> (zum Dichter)

123

du - ri. Stü - cken.

& Œ

? Œ

˙˙ ˙

œœ œ

w (sorridendo ad Eleonora)

œ œ œ œ Œ R R J J

POETA

?‰

Che so - noi pez - zi du - ri? Was heißt „in har - ten Stü - cken“?

ww w

œ ˙

n ww w

˙

˙

?

Non ca - pi - sco. Weiß der Him - mel.

œ œ Œ ‰ œ œR œJ œ J J R J MAES. (lächelnd zu Eleonora)

Dun - que… Al - so…

ww w

w

pez - zi du - ri har - te Stü - cke,

w ELEONORA

MAESTRO <al Poeta> ? œ Œ œ Œ n œ œ Œ œ j Œ ‰ j j œj œ œ œ r œ œ ? ‰ œJ œ ≈<zumr Dichter> œ r & œ œ & œ R œ J R œ J J J J J œ <spiccando le sillabe> ELEONORA <die Silben deutlich aussprechend>

126

eh? ja?

Antonio Salieri: Prima la musica e poi le parole

w & ww ? w 130

& œ

- pur? Sie?

ww

& ? #w

Sì: Ja,

pez - zi har - te

w ww

w

œ œ J

POETA

?‰

Nep - pur. Noch nie.

du - ri… Stü - cke…

Non sie - te mai sta - toin I - spa - gna? Io no. Sie wa-ren nie-mals wohl in Spa - nien? Nein, nie.

w ww

E voi nepUnd auch nicht

w

w

r œr œr œj j Œ œ Œ œ . œr œj œj j r r r r œr J #œ . œ œ œ œ œ

ELEONORA

& ≈# œ

Vi com - pa - ti - sco. Wirk - lich zu scha - de!

ww

Là, Dort,

w

j r j œ & œ . œ œ œJ œJ œJ ‰ œR R œ

133

Divertimento teatrale in un atto Operetta a quattro voci Libretto by Giambattista Casti

ww

? #w

˙˙

˙

ww

w MAESTROœ ELEO. œ œJ œ œ Œ ? œ œJ J œR œR œJ & ‰ œr œr J J J

fe - ce Don - naE - leo - no - ra. - dar, che gran  - gu - ra je - der Glanz und Glo - ria Don-na E - le - o - no - ras!

w & w

là, Si - gno - ri miei, bi - so - gna do - mandort, ver - ehr - te Her - ren, kün - de - te euch

˙˙

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Oh non ne du - bi - to. Nie - mand be - zwei - felt das!

ww

L’an - ti Täg - lich

w

BA 7698a

BÄRENREITER URTEXT Edited by Thomas Betzwieser Piano reduction by Karl-Heinz Müller German translation by Stefan Troßbach Vocal score (Ital/Ger) BA 8811-90 · approx. € 29.95 Performance material available on hire To appear in September 2013

This charming theatrical divertimento belongs to the genre of “metamelodrama” in which the opera itself becomes the subject of the action. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. This masterpiece provides a vehicle for Casti and Salieri to self-reflect on the characters who are part of an opera production (writer, composer) and proves to be a forerunner of Richard Strauss’s Capriccio. This new edition of the score includes numerous alterations (articulation, stage directions, libretto etc.) that have been incorporated into the vocal score. • Urtext edition based on the historical-critical hybrid edition

ISMN 979-0-006-54282-6

OPERA (pp. 34-35) • Original Italian libretto with singable German translation

9 790006 542826

New Issue Title

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42

• Comprehensive bilingual foreword (Ger/Eng)

App Beethoven’s 9th Symphony

See what you can hear! – Beethoven’s 9th Symphony as an app for iPad and iPhone from Deutsche Grammophon and Touch Press in the Bärenreiter edition by Jonathan Del Mar The Bärenreiter edition of Beethoven’s 9th Symphony is the basis for a new app for iPhone and iPad, published by Deutsche Grammophon and Touch Press. Four legendary recordings from the catalogue of Deutsche Grammophon can be called up on the app: • Berliner Philharmoniker, Ferenc Fricsay (1958) • Berliner Philharmoniker, Herbert von Karajan (1963) • Wiener Philharmoniker, Leonard Bernstein (1979), as on Video • Orchestre Révolutionnaire et Romantique, John Eliot Gardiner (1992) There are various versions of the score available. These include the complete orchestral score edited by Jonathan Del Mar published by Bärenreiter as well as a simplified version that highlights six key parts in which individual instruments can be recognized intuitively. Informative accompanying texts and interviews by famous conductors and musicians are also included in this app.

Further information on the website: New Issue Title www.baerenreiter.com/en/focus/app-beethovens-9th/ 43

New Publications 2/2013: The Programme

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Imprint Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG Heinrich-Schütz-Allee 35-37 34131 Kassel · Germany Errors excepted; price changes and delivery terms subject to change without notice. Content valid as of July 2013.

Cover design: www.takeoff-ks.de, christowzik + scheuch, kassel www.baerenreiter.com info@baerenreiter.com Printed in Germany 1/1307/3,1 · SPA 042


New Publications 2/2013