New Publications 1/2010 - Bärenreiter Verlag · The programme at a glance Choral Music Gioachino Rossini, Petite Messe solennelle BA 050 , BA 050 a .....3

�Bärenreiter

The ProgrammeNew Publications

Sheet Music1/2010

�

The programme at a glance

Choral Music

Gioachino Rossini, Petite Messe solennelle

BA �050�, BA �050�a ...................................................3

Stage Work

Gioachino Rossini, Il barbiere di Siviglia

BA �0506b, BA �0506a, TP 4�� .................................4–5

Piano

Johannes Brahms, Piano Pieces op. ��6–��9

Fantasies op. ��6. BA 96�8 ...........................................6

Three Intermezzi op. ��7. BA 96�9 ................................6

Piano Pieces op. ��8. BA 9630 ......................................7

Piano Pieces op. ��9. BA 963� .......................................7

Ludwig van Beethoven, Concerto for Piano and Orchestra

after op. 6�. BA 90�3, BA 90�3a ...................................8

Classic goes Jazz. BA 8760 ................................................9

Contemporary Music

New Publications up to November �009 .......................... �0

Complete Editions

New Publications up to November �009 .......................... ��

Bach · Mozart · Schubert, Special Set Offers ...............��–�3

Gabriel Fauré, Œuvres complètes ............................... �4–�5

Strings

The new series “Bärenreiter‘s Easy Concertos“

Oskar Rieding, Concerto in B minor op. 35

BA 897� ..................................................................... �4

Friedrich Seitz, Student Concerto No. � in G major

op. �3. BA 897�.......................................................... �5

Antonio Vivaldi, Concerto in A minor op. 3/6

BA 8974 ..................................................................... �5

The Sassmannshaus Tradition, Early Start on the Viola

BA 9686–9689 ..................................................... �6–�7

Camille Saint-Saëns, Allegro appassionato in B minor

op. 43. BA 9047 ......................................................... �8

Chamber Music

Leoš Janáèek, String Quartet No. � “Intimate Letters“

BA 9533, TP 533 ......................................................... �9

Claude Debussy, Quatuor à cordes

BA 94�4, TP 4�4 .........................................................�0

César Franck, Quatuor à cordes

BA 94��, TP 4�� ......................................................... ��

Woodwinds

Alexander Glazunov, Concerto for Alto Saxophone and

String Orchestra. BA 873�, BA 873�a ..........................��

Leoš Janáèek, Youth. Wind Sextet

BA 95�8, TP 5�8 .........................................................�3

Series »ComboCom«

Balkan. BA 6700 .............................................................�6

Organ

Johann Sebastian Bach, Organ Works in �� Volumes

BA 5�79 .....................................................................�7

Girolamo Frescobaldi, Organ and Keyboard Works I.�

BA 84�� .....................................................................�8

Jan Pieterszoon Sweelinck, Complete Organ and

Keyboard Works, Volume II.�: Polyphonic Works, Part �

BA 8476 .....................................................................�9

Louis Vierne, Complete Organ Works

Volume IX: BA 9�37 ....................................................30

Solo Voice and Organ

Marian Hymns from the �8th to the �0th Centuries,

Volume II: BA 9�68 .....................................................3�

Solo Voice

Jean-Philippe Rameau, Musique vocale profane

Volume �: BA 8946 / Volume �: BA 8948 .............. 3�–33

Popular Choral Music

Cat Stevens, Wild World

BE 7�7 .......................................................................34

Alex Haas / Willie Jakob, Do ge da ja

BE 7�9 .......................................................................34

Mozart‘s Great Operas Facsimiles ...............................................................35

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

Complete Edition Photo: Paavo Blåfield

3

Choral Music

Gioachino RossiniPetite Messe solennelle

Bärenreiter Urtext

Edited by Patricia B. Brauner and Philip GossettBA �050�Score approx. € 4�.95Harmonium approx. € �3.95Pianos I and II approx. € �3.95

Gioachino RossiniPetite Messe solennelle

n The Petite Messe solennelle is the finest work of Rossini’s late years. He composed it between �863 and �864 at the age of 7� as a commission for Countess Louise Pillet-Will for the consecration of her private chapel, where the work received its first performance in March �864. Together with the Stabat mater, the mass is one of the composer’s most important sacred works.

The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the �8th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from �867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.

The piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.

l Based on the Urtext of the series Works of Gioachino Rossini

l Foreword in three languages (Eng/Ital/Ger)

l With a separate harmonium part and one part for pianos I and II

rossiniB ä r e n r e i t e r U r t e x t

Petite Messe solennelle

Bärenreiter

Klavierauszug

Vocal score

Piano reduction by Andreas Köhs BA �050�a* Vocal score approx. € �4.95

To appear in May �0�0

BA �050�aBA �050�

*New IssueTitle

SCORE File: Project: File Date: Time: Print data:B50-004A.MUS A&O 5k 07.10.09 17:4607-01-*9 1.14 2.1 2.4 300 3

P.1 smorz.

Har. smorzan.

e e le i son,

smorz.

e le i son, e le

Chœ

ur

8 e e le i son,

smorz.

e le i son, e

e e le i son,

smorz.

e le i son, e

12

e e le i son,

smorz.

e le i son, e

P.1 cresc.

Har.cresc.

Bassi

Ky

sottovoce

ri e, Ky ri e, Ky ri

Chœ

ur

8 Ky

sottovoceTenori

ri e, Ky ri e, Ky ri

Contralti

Ky

sottovoce

ri e, Ky ri

4

9 SopraniLes 4 voix Solo avec le Chœur

Ky

sottovoce

ri

a poco a poco

BA 10501

4

Stage Work

Gioachino RossiniIl barbiere di Siviglia /The Barber of SevilleCommedia in due atti

Bärenreiter Urtext

Libretto by Cesare Sterbini after Pierre-Augustin Caron de BeaumarchaisPiano reduction by Rasmus Baumann

Gioachino RossiniIl barbiere di Siviglia /The Barber of Seville

n Rossini’s The Barber of Seville is without doubt the composer’s best-known work and one of the most frequently performed operas in the entire repertoire. This vocal score corresponds with the recently published and highly acclaimed Urtext critical edition (BA �0506) in the series Works of Gioachino Rossini and is available in two versions: Italian-English and Italian-German. The two versions of the vocal score offer revised and modernised singing translations in English and German respectively.

All the appendices in the full score are included in the vocal score. These offer variants on individual arias, additional numbers composed for particular performances and the transposed versions of numbers 5, 6 and ��.

l Urtext edition based on the series Works of Gioachino Rossini

l All versions and transpositions included in the appendix

l Especially user-friendly due to two separate versions (Ital/Eng and Ital/Ger)

l Singing English and German translations

English translation by Amanda HoldenBA �0506b (Ital/Eng) Vocal score* approx. € 39.95To appear in April �0�0

German translation by Richard BletschacherBA �0506a (Ital/Ger) Vocal score approx. € 39.95To appear in April �0�0

SCORE File: Project: File Date: Time: Print data:E15-042.MUS A&O 1k 21.08.09 17:1508-19-*9 1.00 -1.4 2.0 300 3

BA 10506a

+Ott.

F.

23

la ran la là, la ran la

18 FIGARO

di dentro

La ran la le ra,

Cor., Trb., Vle

12 Archi +Cl.+Ott. Cl., Fg.

25

6 +Cl.+Fl. Tutti

Archi

42

FIGARO con chitarra appesa al collo, e detto

Tutti

Allegro vivace

Scena IICavatina Figaro

N. 2

Fiati

Archi

Scene 2FIGARO, with a guitar slung round his neck;

the COUNT (hidden)

(from behindthe scene)

+Vc.

+Fl.

+Cb.cresc.

La ran la le ra,

La ran la là, la ran la

BA 10506b


il barbiere di siviglia

Der Barbier von seville

Bärenreiter

Klavierauszug

riduzione per Pianoforte

*New IssueTitle



the Barber of seville

Bärenreiter

Vocal score

riduzione per Pianoforte

5

Study Score

Gioachino RossiniIl barbiere di Siviglia / The Barber of SevilleCommedia in due atti

Bärenreiter Urtext

Edited by Patricia B. Brauner

Gioachino RossiniIl barbiere di Siviglia / The Barber of Seville

n This study score is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in �008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since �8�6 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly, none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly, there is a wealth of previously unpublished material relating to this opera, of great interest to both scholars and performers.

Thus the famous overture, which Rossini had already used in his earlier opera Aureliano in Palmira, differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira), which includes two flutes, two oboes and timpani, or in the scoring for the subsequent opera The Barber of Seville (with just one flute, one oboe and no timpani).

A series of appendices contain music and information which have been included in no other edition of the opera to date.

l Takes into account all original sources, also including five manuscripts with Rossini’s autograph ornamentation

l Takes into consideration the full extent of Rossini’s personal notational characteristics

l With a detailed foreword (Eng/Ital)

The performance material to the complete opera will be available on hire.



classicsB ä r e n r e i t e r

Study scoreTP 4�� approx. € 39.95

To appear in March �0�0

Cb.Vc. e

Vle

II

Vni

I

Cor.in Mi

in La

6

Contrabbassi

Violoncelli

Viole

II

Violini

I

Andante

sottovoce

in La2 Trombe

a 2

2 Corniin Mi

dolce

2 Fagottia 2

2 Clarinettiin La

a 2

sottovoce

1 Oboe

1 Flauto

142

Andante

Di prospetto la fenestra con gelosia, come nella Scena(Camera nella casa di Don Bartolo, con quattro porte.

[Cavatina Rosina]

prima. A destra uno scrittoio)

(Rosina con lettera in mano)(SCENA V)

N. 5

Cl.

*

* Rossini wrote variations for this Cavatina, given in Appendix I. / Rossini ha composto variazioni per questa Cavatina, riportate nell’Appendice I.

New IssueTitle

6

Johannes BrahmsFantasies op. 116

Bärenreiter Urtext

Edited and with fingering by Christian KöhnBA 96�8 approx. E 8.00


Johannes BrahmsFantasies op. 116

Johannes BrahmsThree Intermezzi op. 117

n The piano pieces opp. ��6-��9 were written in �89�/93 and are the last collections of pieces which Brahms wrote for the instrument. Particularly noteworthy is his use of the “small form” accompanied by a heightened increase in musical expression compared to his earlier works.

Piano

Clara Schumann, probably the secret dedicatee of the piano pieces, wrote in her diary in November �89�: “a true source of enjoyment, everything, poetry, passion, fantasy, intimacy, full of the most marvellous sound effects […] In these pieces I finally feel musical life drawn into my soul again and play once more with true devotion.”

A renewed critical evaluation of all known sources has resulted in small deviations from previous readings.

p

Andante

5

pp

9

12

pp rit.

15

2

42

4 5

32

Intermezzo

1 2 1 3 2

3 3

41

35 1 2

3

3 4

3

4

15

3

3 3

BA 9628

Johannes BrahmsThree Intermezzi op. 117

Bärenreiter Urtext

Edited and with fingeringby Christian KöhnBA 96�9 approx. E 6.50


New IssueTitle

New IssueTitle

BrAhMs

Bärenreiter

B ä r e n r e i t e r U r t e x t

Fantasienfür Klavier

Fantasiesfor Piano

op. 116

BrAhMs

Bärenreiter


Drei intermezzifür Klavier

three intermezzifor Piano

op. 117

7

Johannes BrahmsPiano Pieces op. 118

Bärenreiter Urtext

Edited and with fingeringby Christian KöhnBA 9630 approx. E 7.50




BrAhMs

Bärenreiter


Klavierstücke

Piano Pieces

op. 118

The editor

Christian Köhn teaches piano at the Musikhochschule in Detmold. One of his specialisms is the piano music of Johannes Brahms, as shown in his highly acclaimed complete recording of Brahms’s four-hand piano repertoire on CD with his duo partner Silke-Thora Matthies. For Bärenreiter he has already edited Brahms’s Serenades op. �� and �6 for piano duet (BA 6570/BA 657�).

l Johannes Brahms’s most frequently performed piano pieces, now available in high quality Bärenreiter Urtext editions

l Evaluation of all available sources

l Reflecting the latest state of research


Bärenreiter Urtext

Edited and with fingering by Christian KöhnBA 963� approx. E 6.50


BrAhMs

Bärenreiter


Klavierstücke

Piano Pieces

op. 119

New IssueTitle

New IssueTitle

Piano

8

Ludwig van BeethovenConcerto for Piano and Orchestra after op. 61

Bärenreiter UrtextEdited by Jonathan Del MarBA 90�3 Score* approx. E 37.95

BA 90�9Wind set approx. E 39.95Strings each approx. E 4.50To appear in April �0�0

Ludwig van BeethovenConcerto for Piano and Orchestra after op. 61

n After attending the premiere of Beethoven’s stately concerto for violin and orchestra Muzio Clementi approached the composer and requested the work in a transcription for piano and orchestra; his wish was fulfilled in �807 providing us with not just an alternative version of the composition but also one with authentic cadenzas which Beethoven had not writtenfor the Violin Concerto! This version has waited a long time to be properly edited after the existing sources and the famed Beethoven scholar Jonathan Del Mar has done just that!

Working with all known sources, Del Mar finally presents us with Beethoven’s solo piano articulation and dynamics and Beethoven’s cadenzas. And, for the first time we now have clarity regarding the meaning of Beethoven’s Solo and Tutti markings.

All in all, a groundbreaking scholarly critical edition; a “must“ for every pianist, every orchestra and every music library.

The piano reduction will be presented in a new format: As customary in the �9th century there will be a solo piano part containing tutti passages, cues and the piano solo. This part will be inserted – as with string and wind concertos – in the piano reduction. This affords the soloist sensible page turns and offers the possibility to lead the ensemble from the piano. The piano reduction will include the reduction of the orchestral score as well as the solo piano part above it in small print.

l High quality Bärenreiter Urtext edition

l Urtext solo piano part and an additional piano part with fingering

l New kind of presentation of the piano reduction incorporating solo piano parts as customary in the 19th century

Piano reduction with an Urtext solo piano part and an additional piano part with fingeringBA 90�3a* approx. E �9.95


The critical commentaries to the Violin Concerto op. 6� as well as to the PianoConcerto version are included in BA 90�9/40.

Piano

Be e t hoV e n

Konzert für Klavier und orchester

Concerto for Piano and orchestra

nach / after op. 61

Bärenreiter


KlavierauszugPiano reduction

BA 9013 © 2009 by Bärenreiter-Verlag, Kassel

Flauto

Oboe I, II

Clarinetto I, IIin La/A

Fagotto I, II

Corno I, IIin Re/D

Clarino I, IIin Re/D

Timpaniin Re-La/D-A

Pianoforteprincipale

Viole

Violoncellie Bassi

er

Allegro ma non troppo

CONCERTO

avec accompagnement de grand Orchestrearrangé d’après son 1 Concerto de Violon

at Dédiéà Madame de Breuning

née noble de Wering

Opus 61

parLouis van Beethoven

pour le Pianoforte

dolce cresc. sf p

dolce cresc. sf p

a 2

p dolce

a 2

cresc. sf p

Solo

p p

Violini I

Allegro ma non troppo

Violini II

BA 90�3, Score

*New IssueTitle

BA 90�3a, Piano reduction

9

Piano

Jean KleebClassic goes JazzBA 8760 approx. E �0.95

To appear in April �0�0

New IssueTitle

Jean KleebClassic goes Jazz

n Classical themes in the broadest sense are the basis for Jean Kleeb’s varied, jazz-orientated piano arrangements. Jean Kleeb is adept at taking the best-known baroque, classical and romantic themes and placing them in a new light so that “classical” as well as jazz pianists will derive a great deal of enjoyment from this selection.

l Classical melodies in a jazz interpretation

l Pieces of medium technical difficulty

l Fun and variety guaranteed

Already published:

Mozart goes Jazz for PianoArranged by Jean KleebBA 876� E �0.00


mf

Swing q .= 138

5

mf

9

mp

12

p

15

Jean Kleeb

Jazz Minuet 1

2. time to Coda

�0

Contemporary MusicNew publications up to November �009

Beat FurrerXenos II für Ensemble und Sprechstimme

BA 976� Performance material available on hire

Beat FurrerAPON für Orchester und Sprechstimme

BA 9754 Performance material available on hire

Beat Furrerdrei klavierstücke

BA 93�6 Available on sale

Vadim Karassikovabove the shadow of the candle

For flute, clarinet, violin, violoncello and pianoBA 8�86 Available on sale

Philipp Maintz tourbillon

Music for violin, violoncello and pianoBA 7796 Available on sale

Matthias Pintschercelestial object II for solo horn and ensemble

Part two from »sonic eclipse«BA 9759 Performance material available on hire

Matthias PintscherStudy III for Treatise on the Veil

For solo violinBA 93�� Available on sale

Thomas Daniel SchleeEnchantement vespéral für Ensemble op. 71

BA 9743 Performance material available on hire

Thomas Daniel SchleeSpes unica für großes Orchester op. 72

BA 975� Performance material available on hire

Ulrich StranzPortrait für Viola (and arrangement by the composer for violin solo)

Guter Dinge seinFor flute and violaBA 8587 Available on sale

Manfred TrojahnSentimento del tempo

Music for violin solo, � flutes and stringsBA 9748 Performance material available on hire

Manfred TrojahnDouze Préludes pour Piano

Cahier �: Nos. �-6BA 93�9 Available on sale

��

Complete EditionsNew publications up to November �009

Das deutsche KirchenliedSeries II, vol. 3Hymns I-M (Nos. 331-536)

Edited by Max LütolfBA 8360

George Frideric HandelHalle Handel Edition, Series II, vol. 12 (Parts 1 and 2):Ottone

Edited by Fiona McLauchlanBA 4077

George Frideric HandelHalle Handel Edition, Series II, vol. 33: Alcina

Edited by Siegfried FleschBA 406�

L’Opéra françaisAdolphe Adam“Le Toréador ou l’Accord parfait“

Opéra bouffon en deux actesEdited by Paul PrévostBA 870�

Franz SchubertNew Edition of the Complete Works,Series V, vol. 7: Concert pieces

Edited by Michael KubeBA 5560

Georg Philipp TelemannMusical Works, vol. 46Der misslungene Brautwechsel oder Richardus I., König von England, TVWV 22:8

Edited by Steffen VossBA 5866

New Complete Editions by Bärenreiter

Johann Pachelbel · the Complete Vocal WorksFelix Mendelssohn Bartholdy · Complete Letters

Works of Gioachino rossiniGabriel Fauré · Œuvres complètes

L'opéra français

��

Over the decades Bärenreiter Complete Editions have achieved a unique reputation amongst musicians and scholars. The list of composers whose complete works have been published in editions of outstanding editorial quality is impressive. It ranges from Bach, Handel, Mozart, Schubert through to Berlioz, Berwald and Janácek.

For the first time Bärenreiter is now offering selected groups of works from the world literature of music at particularly attractive prices.

Bärenreiter Complete Edition volumes at attractive set pr icesJohann Sebastian BachOrchestral Works Vol. 1: Four Orchestral Suites Vol. 2: Brandenburg Concertos Vol. 3: Concertos for Violin, two Violins,

Harpsichord, Flute and Violins Vol. 4: Concertos for Harpsichord Vol. 5: Concertos for two Harpsichords Vol. 6: Concertos for three and four

Harpsichords Vol. 7: Missing Solo Concertos and

Reconstructions

Price if purchased separately: 846.00Special Set Price: BA 5300 448.00

Wolfgang Amadeus Mozart Masses and Requiem Vols. 1-5: Masses Vol. 6: Individual Movements and

Fragmentary Works Vol. 7: Requiem (Fragment) Vol. 8: Requiem (Fragment with the

completions by Eybler and Süßmayr)

Price if purchased separately: 1,111.00Special Set Price: BA 4627 498.00

Wolfgang Amadeus Mozart Symphonies Vols. 1-10: Symphonies


Wolfgang Amadeus Mozart Serenades and Divertimenti Vols. 1-6: Cassations, Serenades and

Divertimenti for Orchestra Vols. 7-8: Divertimenti and Serenades

for Winds


Franz Schubert Symphonies Vols. 1-4: Symphonies


To appear in March 2010

A unique offer for orchestras, condu ctors, choral directors and students!

�3

Over the decades Bärenreiter Complete Editions have achieved a unique reputation amongst musicians and scholars. The list of composers whose complete works have been published in editions of outstanding editorial quality is impressive. It ranges from Bach, Handel, Mozart, Schubert through to Berlioz, Berwald and Janácek.

For the first time Bärenreiter is now offering selected groups of works from the world literature of music at particularly attractive prices.

Bärenreiter Complete Edition volumes at attractive set pr icesJohann Sebastian BachOrchestral Works Vol. 1: Four Orchestral Suites Vol. 2: Brandenburg Concertos Vol. 3: Concertos for Violin, two Violins,

Harpsichord, Flute and Violins Vol. 4: Concertos for Harpsichord Vol. 5: Concertos for two Harpsichords Vol. 6: Concertos for three and four

Harpsichords Vol. 7: Missing Solo Concertos and

Reconstructions


Wolfgang Amadeus Mozart Masses and Requiem Vols. 1-5: Masses Vol. 6: Individual Movements and

Fragmentary Works Vol. 7: Requiem (Fragment) Vol. 8: Requiem (Fragment with the

completions by Eybler and Süßmayr)


Wolfgang Amadeus Mozart Symphonies Vols. 1-10: Symphonies


Wolfgang Amadeus Mozart Serenades and Divertimenti Vols. 1-6: Cassations, Serenades and

Divertimenti for Orchestra Vols. 7-8: Divertimenti and Serenades

for Winds


Franz Schubert Symphonies Vols. 1-4: Symphonies


To appear in March 2010

A unique offer for orchestras, condu ctors, choral directors and students!

�4

New IssueTitle

Strings

Bärenreiter’s Easy Concertos is a new series of

the most popular short concertos for violinists

who want to begin performing in public.

The series begins with works by the composers

Rieding, Seitz and Vivaldi which are clear favourites

amongst the first solo concertos played.

The editions include 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 to ensure

successful first concerts.

These volumes form an ideal continuation of the

Sassmannshaus school editions and can be used

in parallel from volume three onwards: They can

also be used to supplement any violin method.

This series will be continued and will introduce

students to more demanding repertoire with an

increasing level of difficulty.

Solo Violin

mf

Allegro moderato

mf

9

p

14

BA 8971© 2009 by Bärenreiter-Verlag, Kassel

mf mf

19

mf f

24

p mp mf mf

28

f risoluto f

33

mf

39

1 00

0

Oskar Rieding, Op. 35

Concerto in H mollConcerto in B minor

p

0

mp

0

00 0

0

4 0 4 0 0 0

0 4

4

Concerto in h-Moll

Oskar Rieding (1840–1918)Concerto in B minor op. 35

Oskar RiedingConcerto in B minor op. 35Bärenreiter's Easy ConcertosViolin part and enclosed piano reductionBA 897� approx. E 8.00

To appear in February �0�0


�5

New IssueTitle

New IssueTitle

Solo Violin

mf f mp f

Allegro

mf mp p

4

p mp mf

7

© 2010 by Bärenreiter-Verlag, Kassel

mf

10

BA 8974

f mp mf

13

fp

p mp

16

mf p

19

Tutti

21

20 3 4 0

3

Concerto in a-Moll

Antonio Vivaldi op. 3 Nr. 6 (PV 1)

Concerto in A minor

0 4 0 4

0

f

f

1 4 13

mf mp

1 4 3 43

1

Solo

2

12 0 3

2

10

4 32

1

1 3 2 1

p

Tutti

4

Friedrich Seitz(1848–1918)Concerto No. 2 in G major op. 13

Antonio Vivaldi(1678–1741)Concerto in A minor op. 3/6

Friedrich SeitzStudent Concerto No. 2 in G major op. 13Bärenreiter's Easy ConcertosViolin part and enclosed piano reductionBA 897� approx. E 8.50


Antonio VivaldiConcerto in A minor op. 3/6Bärenreiter's Easy ConcertosViolin part and enclosed piano reductionBA 8974 approx. E �0.00


Strings

Solo Violin

p mf f

Allegro non troppo

dim. mf f

mfmf

7

© 2010 by Bärenreiter-Verlag, Kassel BA 8972

f f mf

12

f p mf p

17

cresc. f cresc.

22

Cadenza ad lib.

f p veloce

rit.27

p con grazia mf p

a tempo tranquillo28

mp mp

32

mf

36

Schüler-Concert Nº 2 in G-Dur

Friedrich Seitz, Op. 13

Student’s Concerto Nº 2 in G

Solo2

4 4

4

0 4

Solo Violin

p mf f

Allegro non troppo

dim. mf f

mfmf

7

© 2010 by Bärenreiter-Verlag, Kassel BA 8972

f f mf

12

f p mf p

17

cresc. f cresc.

22

Cadenza ad lib.

f p veloce

rit.27

p con grazia mf p

a tempo tranquillo28

mp mp

32

mf

36

Schüler-Concert Nº 2 in G-Dur

Friedrich Seitz, Op. 13

Student’s Concerto Nº 2 in G

Solo2

4 4

4

0 4

schülerkonzert nr. 2 in G-Durstudent Concerto no. 2 in G major

BA 8972 © 2010 by Bärenreiter-Verlag, Kassel BA 8974 © 2010 by Bärenreiter-Verlag, Kassel

�6

SassmannshausSassmannshausSassmannshausSassmannshaus

Sassmannshaus

SassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshaus

�7

SassmannshausSassmannshausSassmannshausSassmannshaus

Sassmannshaus

SassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshausSassmannshaus

�8

Camille Saint-SaënsAllegro appassionato in B minor op. 43 for Violoncello and Piano

Bärenreiter Urtext

Edited by Christine BaurBA 9047 approx. E 7.50


Strings

New IssueTitle

Camille Saint-SaënsAllegro appassionato in B minor op. 43for Violoncello and Piano

n Since its premiere in �873 this work has held an important place in the violoncello repertoire. It is on the one hand a short charming composition; on the other hand, equally important, is its use in instruction during the first few years of playing. Central here are the articulation of the opening theme and its various repetitions juxtaposed with lyrical passages calling for legato playing.

Christine Baur’s new scholarly-critical edition is based on a thorough examination of all the sources, including Saint-Saëns’ later orchestral version. The edition incorporates many articulation alternatives for the soloist, which are marked “ossia” above the solo cello line in this version for cello and piano.

This important new publication offers cellists not only an Urtext part, but also one with bowing and fingering; both parts have a fold-out page so that no page turns are necessary.

l The first Urtext edition of this important work

l Fold-out page in the solo cello part, so no page turns are needed

l Includes articulation alternatives as “ossias“

sAint-sAËns

Bärenreiter


Allegro appassionato in h-Moll / in B minor

für Violoncello und Klavier

op. 43

�9

Chamber Music

Leoš JanáèekSmyècový kvartet è. 2 »Listy dùvìrné«String Quartet No. 2 “Intimate Letters“

Bärenreiter Urtext

Edited by Leoš Faltus and Miloš ŠtìdroòParts in slipcover*BA 9533 approx. E �9.95

Leoš JanáèekSmyècový kvartet è. 2 »Listy dùvìrné«String Quartet No. 2 “Intimate Letters“

n Janáèek’s �nd String Quartet, Intimate Letters, is regarded as a highlight of the modern string quartet literature. It was written during the composer’s last year of life, between �9 January and �9 February �9�8, inspired by the ageing Janáèek’s exceptional love for Kamila Stösslová. The Moravian Quartet devoted themselves to this impressive work; Janáèek attended a total of three of their rehearsals in May and June �9�8. This had several consequences, including his abandoning his original idea of using a viola d’amore.

After Janáèek’s unexpected death (�� August �9�8) the uncertain genesis of the work became the greatest problem of the Intimate Letters: the surviving copies were not definitively authorised. The editors of this new edition have reverted to Janáèek’s autograph sketches as the main, most reliable source and using these as a basis, have reconstructed the work as it stood at the point of Janáèek’s death. The musical text, taken from the Critical Complete Edition of the Works of Leoš Janáèek (Vol. E/4), therefore contains clear differences in comparison with older editions.

Study score*TP 533 approx. E �5.50To appear in April �0�0

l Urtext based on the Critical Complete Edition of the Works of Leoš Janáèek

l With a foreword by Miloš Štìdroò (Cz/Eng/Ger)

l Autograph sketches used as the primary source

JanacekII 2.2.2009 11:09 Stránka 1

BA 9533 TP 533

JAnáCeK

Bärenreiter

›


smyčcový kvartet č. 2»Listy důvěrné«

string Quartet no. 2»intimate Letters«

streichquartett nr. 2»intime Briefe«

hlasy / Parts / stimmen

tP 533 © 2010 by editio Bärenreiter Praha

Leoš Janáček(1854–1928)

smyčcový kvartet č. 2string Quartet no. 2 / streichquartett nr. 2

i



*New IssueTitle

�0

Claude DebussyQuatuor à cordes

Bärenreiter Urtext

Edited by Douglas Woodfull-HarrisParts in slipcover*BA 94�4 approx. E �8.95

Study score*TP 4�4 approx. E �4.95

Chamber Music

BA 94�4 TP 4�4

Claude DebussyQuatuor à cordes

n Debussy’s only string quartet composed in �893 was his first masterwork. Together with two further works from this creative period, Prélude à l’après-midi d’un faune and Pelléas et Mélisande, the quartet established the composer’s position as the rising star of the French music scene.

Discrepancies existed from the initial publication in �894 between the score, corrected and seen into print by the composer and the parts, not corrected by him. At a later point, Debussy made a large number of corrections and alterations in a copy of the first edition; these alterations have been incorporated in this Bärenreiter Urtext edition.

This scholarly-critical edition utilises all sources including the composer’s letters, which offer a valuable insight into the genesis of the composition.

l Indispensable edition for all string quartets

l High quality Bärenreiter Urtext edition

l With a foreword (Ger/Fr/Eng) and facsimiles

DeBUssy

Bärenreiter


Quatuor à cordes

Parties / Parts / stimmen

TP 414

Animé et très décidé = 63

Quatuorpour

2 Violons, Alto et Violoncelle


Claude Debussy

Violon I

Violon II

Alto

Violoncelle

f

3

3 3

3

f

3 3

f

3 3

f

6

dim.

plus dim.

p

p

3

3 3 3

dim.

plus dim.

p

p

dim.

plus dim.

p

p

dim.

plus dim.

p

p

12

p

expressif et soutenu

pp

p

pp

p

pp

To appear in April �0�0*New Issue

Title

��

Chamber Music

César FranckQuatuor à cordes

Bärenreiter Urtext

Edited by Christine Strucken-PalandParts in slipcover*BA 94�� approx. E 33.95

Study score*TP 4�� approx. E �0.95


BA 94�� TP 4��

César FranckQuatuor à cordes

n César Franck's string quartet was completed and premiered in �890 shortly before the composer's death; he did not live to see the work published. Now Bärenreiter, together with the “Association Internationale César Franck”, presents the string quartet in a scholarly-critical edition for the first time. This publication draws on the first edition, the engraver’s copy used for the first edition and the sketches with their many crossed out attempts which contain an earlier version of the first movement as well as a copy of the autograph. Franck’s letters and a set of hand-written parts which he produced for Eugene Ysaÿe’s string quartet have also been taken into account.

In her foreword, the editor Christine Strucken-Paland portrays the significance of the string quartet for Parisian musical life at the end of the �9th century and places it in the context of the composer’s other late chamber music works. She also describes the work’s development, its publication and reception and discusses aspects of performance practice. The facsimiles show Franck’s struggles with the opening movement and the critical commentary lists variant readings found in the sources.

l First Urtext edition of Franck’s masterwork l Informative foreword (Ger/Fr/Eng)

l Facsimiles and a critical commentary (Eng)

FrAnCK

Bärenreiter


Quatuor à cordes

Parties / Parts / stimmen

*New IssueTitle

��

Woodwinds

Alexander GlazunovConcerto for Alto Saxophone and String Orchestra

Bärenreiter Urtext

Edited by Regina Back und Douglas Woodfull-HarrrisBA 873�Score* approx. E �9.95Strings each approx. E 4.00

Piano reduction with two solo parts by Martin SchelhaasBA 873�a * approx. E �9.95


BA 873�a

*New IssueTitle

Alexander GlazunovConcerto for Alto Saxophone and String Orchestra

n The Concerto for Alto Saxophone and Orchestra is Alexander Glazunov’s last work; since its first performance in �934 it has become part of the standard saxophone repertoire. The sole surviving autograph manuscript is the hand-written dedication score given by Glazunov to Sigurd Raschèr (Raschèr was the founder and leader of the well-known and innovative Raschèr Saxophone Quartet). This score contains the original version of the work without the alterations which were made in the proofs to the orchestral score as well as the full version of the composer’s cadenza which was later shortened. The autographmanuscript also contains some performance markings by Raschèr.

The correspondence between Raschèr and Glazunov documents the composer’s thoughts on the work and his recommendations about the size of the accompanying string orchestra. Evidence from this correspondence has been integrated into this edition.

This first scholarly-critical edition of a work by Glazunov contains an informative introduction with commentaries about thehistory of its composition, facsimiles and a critical commentary. The solo part includes both the complete and the shortened version of the cadenza as well as a cadenza by Raschèr which the composer authorised.

l Includes the original and new solo cadenzas

l With helpful performance tips by Carina Raschèr, the daughter of Sigurd Raschèr

l With an Urtext solo saxophone part and a second part prepared by Carina Raschèr

l Informative foreword (Ger/Eng)

GLAzUnoV

Bärenreiter


Konzertfür Altsaxophon und streichorchester

Concertofor Alto saxophone and string orchestra

Partitur / score

Allegro moderato q = 92

Concerto

Alexander Glazunov

BA 8732

Op. 109


Alto Saxophone

Violini I

Violini II

Viole

Violoncelli

Contrabassi

5

f

f

f

f

f

p

fdim.

pp cresc. f dim.

p cresc. fdim.

div.

p cresc. f

unis.

dim.

div.

cresc.

f

unis.

dim.

�3

Woodwinds

Leoš JanáèekMládí. Dechový sextetYouth. Wind sextet

Bärenreiter Urtext

Edited by Jan Doležal and Leoš FaltusParts in slipcover*BA 95�8 approx. E ��.95

Leoš JanáèekMládí. Dechový sextetYouth. Wind sextet

n Leoš Janáèek, almost seventy years old, characterised the wind sextet he had just finished as “a kind of memory of youth” in a letter to Kamila Stösslová. The suite Youth was written in the summer of �9�4, prompted by the composer’s need to take stock on the occasion of his 70th birthday. Janáèek also heard the Parisian ensemble Société moderne des instruments à vent several times in Salzburg and Brno. He expanded the classic quintet scoring by the addition of a bass clarinet.

Janáèek referred to an earlier part of his life in this work not only by quoting a theme from March of the Blue Boys, but particularly through his general freshness of expression, astute humour and use of form which adhered to the classical style.

The piece was enthusiastically received by both critics and the public and appeared in print as early as �9�5 issued by the Prague publisher Hudební matice.

Study score*TP 5�8 approx. E �8.95To appear in June �0�0

l Wind sextet in the classical style

l Urtext based on the Critical Complete Edition of the Works of Leoš Janáèek

l New foreword by Jiøí Zahrádka (Cz/Eng/Ger)

BA 95�8 TP 5�8

JAnáCeK

Bärenreiter

›


MládíDechový sextet

youthWind sextet

Die JugendBläsersextett

hlasy / Parts / stimmen

Leoš Janáček(1854–1928)

Mládí / youth / Die Jugend

i

tP 528 © 2010 by editio Bärenreiter Praha

*New IssueTitle

�4

The CompleTe WorkssubsCripTion offer

The volumes can be purchased individually or complete at specially reduced subscription prices. each volume includes a preface (fr/eng/Ger) and a critical commentary (fr or eng), format 25.5 x 32.5 cm, cloth-bound.on the basis of this Critical edition, bärenreiter will be publishing performance material.

The subsCripTion

Gabriel fauré Œuvres ComplèTes (oCGf)

General Editor Jean-michel nectoux

Editorial BoardJean-pierre bartoli, Carlo Caballero, Tom Gordon, Denis herlin, peter Jost, richard langham smith, hugh macdonald, roger nichols, robert orledge, James William sobaskie, robin C. Tait

Editorial Staff nicolas southon

In collaboration with musica Gallica, fondation singer polignac, palazzetto bru Zane, bibliothèque national de france

bärenreiter proudly presents the start of the publication of the complete compositional œuvre of Gabriel Fauré, a key figure of the end of the 19th and the beginning of the 20th century, in high-quality scholarly critical editions. based on longstanding preparatory work by Jean-michael nectoux as well as on research by internationally acclaimed musicologists, the Complete edition of the Works of Gabriel fauré (1845-1924) will be published by bärenreiter from 2010 onwards.

G a b r i e l f a u r é

�5

The CompleTe WorkssubsCripTion offer

The volumes can be purchased individually or complete at specially reduced subscription prices. each volume includes a preface (fr/eng/Ger) and a critical commentary (fr or eng), format 25.5 x 32.5 cm, cloth-bound.on the basis of this Critical edition, bärenreiter will be publishing performance material.

The subsCripTion

Gabriel fauré Œuvres ComplèTes (oCGf)

General Editor Jean-michel nectoux

Editorial BoardJean-pierre bartoli, Carlo Caballero, Tom Gordon, Denis herlin, peter Jost, richard langham smith, hugh macdonald, roger nichols, robert orledge, James William sobaskie, robin C. Tait

Editorial Staff nicolas southon

In collaboration with musica Gallica, fondation singer polignac, palazzetto bru Zane, bibliothèque national de france

bärenreiter proudly presents the start of the publication of the complete compositional œuvre of Gabriel Fauré, a key figure of the end of the 19th and the beginning of the 20th century, in high-quality scholarly critical editions. based on longstanding preparatory work by Jean-michael nectoux as well as on research by internationally acclaimed musicologists, the Complete edition of the Works of Gabriel fauré (1845-1924) will be published by bärenreiter from 2010 onwards.

G a b r i e l f a u r é

The PubliCaTion SCheDule

Promotional material: Please ask for the brochure ”Gabriel Fauré · The Complete Works“ SPA 279 · in preparation

SÉRie i · MuSiQue VoCale ReliGieuSe i/1 Messe de Requiem op. 48 (version de 1893) i/2 Messe de Requiem op. 48 (version de 1900) ed. Michael Stegemann / Christina Stahl ba 9461 · To be published 2011i/3 Œuvres avec orchestre ou ensemble instrumentali/4 Œuvres avec orgue ou deux instruments

SÉRie ii · MuSiQue VoCale PRoFaneii/1 Œuvres pour chœur mixte et orchestreii/2 Chœurs avec pianoii/3 Mélodies avec orchestre ou ensemble instrumentalii/4 Mélodies et duos avec piano iii/5 Mélodies et duos avec piano iiii/6 Mélodies et duos avec piano iii

SÉRie iii · MuSiQue DRaMaTiQueiii/1 Prométhée op. 82 (1e version 1900)iii/2 Prométhée op. 82 (2e version 1916) iii/3 Pénélope (2 volumes)iii/4 Musiques de scène

SÉRie iV · ŒuVReS SYMPhoniQueS eT ConCeRTanTeSiV/1 Œuvres symphoniques iiV/2 Œuvres symphoniques iiiV/3 Œuvres concertantes

Ballade pour piano et orchestre, op. 19, Fantaisie pour piano et orchestre, op. 111, Élégie pour violoncelle et orchestre, op. 24, Berceuse pour violon et orchestre, op. 16

ed. Peter Jost ba 9465 · To be published 2011

SÉRie V · MuSiQue De ChaMbReV/1 Quintettes avec pianoV/2 Quatuors avec piano

1er Quatuor pour piano, violon, alto et violoncelle, op. 152e Quatuor pour piano, violon, alto et violoncelle, op. 45

ed. Denis herlin ba 9462 · To be published 2010V/3 Trio pour piano, violon et violoncelle, op. 120,

Quatuor à cordes, op. 121 ed. James W. Sobaskie ba 9464 · To be published 2010V/4 Œuvres pour violon et pianoV/5 Œuvres pour violoncelle et piano, flûte et piano, flûte,

violon et piano, harpe solo, 2 contrebasses

SÉRie Vi · ŒuVReS PouR PianoVi/1 Œuvres pour piano à 2 mains iVi/2 Œuvres pour piano à 2 mains iiVi/3 Œuvres pour piano à 2 mains iiiVi/4 Œuvres pour piano à 4 mains et 2 pianos

SÉRie Vii · ÉRuDiTion ed. Jean-Michel nectouxVii/1 Catalogue des œuvres Vii/2 iconographie

�6

Series “ComboCom“

ComboComBalkanEdited by Paul HoornBA 6700 approx. E ��.95

To appear in April �0�0

ComboComBalkan

n The Balkans offers a wealth of musical styles and with it ideal material for a collection of pieces for variable scorings. In this publication instrumentals and songs alternate, usually with a melody part, an accompanying part, chords and bass. Hints on how percussion instruments can be used have also been included. Dynamic dance pieces are followed by lyrical melodies, capricious songs and unusual rhythms; music from the Klezmer and Roma traditions is found throughout. The collection offers small groups who are looking for something special an unusual and varied programme.

l Music from different Balkan cultures

l 12 arrangements for variable ensemble

l The edition includes parts for melodies I and II in C, B-flat and E-flat, a chord as well as a bass part

Already published:

Blues · BA 7668 E �9.95Django · BA 7665 E �9.95Djelem · BA 7664 E �9.95El Cóndor pasa · BA 7663 E �8.95Irish · BA 7670 E �9.95Kaffeehausmusik · BA 766� E �9.95Klezmer · BA 7660 E �9.95Salonmusik · BA 7666 E �9.95Samba-Salsa-Son · BA 766� E �9.95Tango · BA 7669 E �9.95Zydeco – Cajun · BA 7667 E �9.95

New IssueTitle

IntroV = 100

trad. albanisch

A Kanë ujë ato burime

1.

Mel. II

Harm.

Bass

2b 2.

5

Mel. I (Vocal)

Mel. II

Harm.

Bass

Em

Am B Em Am6/C Em B7 Em B

Strophe

ANëmShi

kan(ë)cik

hemi-

uj(ë)uj(ë)

o,-

ameme

tobugo

-zëje

--

bute

nuk

ribufla

-ce-

melessim

-

-

TiTiEh,

mojmojsi

buz(ë)vajzaduroj

kae

me,-

raTë

moj,

- filpësi

--

jalë

s’pel

--

i

ca--

-

Em G A B

BA 6700

20

�7

Organ

Johann Sebastian BachOrgan Works

Bärenreiter Urtext

BA 5�79 E �49.00

Already published

Johann Sebastian BachOrgan Works(In a set of 11 volumes)

n With the completion of the New Bach Edition where all sources have now been exhaustively researched, Bärenreiter presents the definitive edition of Bach‘s organ works in a set of �� volumes. BA 5�79 includes the volumes already published in separate Bärenreiter editions BA 5�7�-5�78, the famous Neumeister Chorales BA 5�8� and now, in addition, the two recently published editions BA 5�43 (Freely Composed Organ Works and Chorale Partitas from Miscellaneous Sources) and BA 5�5� (Organ Chorales from Miscellaneous Sources).

A superb foundation for everyone interested in the authentic performance of Bach‘s organ music.

Contents

Volume �Orgelbüchlein / »Schübler-Chorales« / Chorale Partitas Volume �The Organ Chorale Preludes from the Leipzig autograph Volume 3Miscellaneous Chorales

Volume 4Clavier Übung, Part three Volume 5Preludes, Toccatas, Fantasias and Fugues I Volume 6Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6) Volume 7Six Sonatas and Various Individual Pieces

Volume 8Arrangements of Works by other Composers Volume 9Organ Chorales from the Neumeister Collection (First edition) Volume �0Organ Chorales from Miscellaneous Sources Volume �� Freely Composed Organ Works and Chorale Partitas from Miscellaneous Sources

BA 5�43 · Band ��

All volumes continue to be available separately. However there is a price advantage of E 28.00 when buying the set.

�8

Organ

Girolamo FrescobaldiOrgan and Keyboard Works I.2Toccate e Partite d’intavolatura di cimbalo; libro primo (Rom, Borboni, 1615, 21616)

Bärenreiter Urtext

Edited by Christopher Stembridgewith Kenneth GilbertBA 84�� approx. E 39.50

Girolamo FrescobaldiOrgan and Keyboard Works I.2Toccate e Partite d'intavolatura di cimbalo; libro primo (Rom, Borboni, 1615, 21616)

n Girolamo Frescobaldi’s music strongly influenced composers such as Froberger, Buxtehude, Johann Sebastian Bach and Muffat. Bärenreiter is now complementing the long-standing Pidoux edition with an Urtext edition in six volumes which sets a new standard. It offers both professional musicians and enthusiasts an unrivalled musical text which will satisfy practical requirements whilst at the same time providing comprehensive information on all currently known sources and the history of the works. This Urtext edition of the organ and keyboard works has been edited by the renowned specialists Christopher Stembridge and Kenneth Gilbert.

Vol. I.� includes the toccatas and partita movements from the first edition published in Rome by Nicolò Borboni. Each volume in the new Frescobaldi edition contains a critical commentary as well as an introduction describing the genesis of the works, situation regarding sources and performance practice.

l Urtext edition setting new standards in six volumes

l Reflecting the latest state of research

l Detailed foreword (Eng/Ger), critical commentary (Eng/Ger), index of sources

Already published:

Girolamo FrescobaldiOrgan and Keyboard Works I.1Recercari, et Canzoni franzese (Rom, Zannetti, 1615, 21618)BA 84�� E 46.95

FresCoBALDiB ä r e n r e i t e r U r t e x t

orgel- und Clavierwerke

organ and Keyboard Works

i.2

Bärenreiter

To appear in February �0�0New Issue

Title

�9

Jan Pieterszoon SweelinckComplete Organ and Keyboard WorksVolume II.2: Polyphonic Works, Part 2Fantasias, Echo Fantasias, Ricercari, Capriccio

n The central importance of Jan Pieterszoon Sweelinck (�56�–�6��) for Baroque keyboard music can hardly be overestimated. Siegbert Rampe’s scholarly performing edition is the first edition of Sweelinck’s complete keyboard works which differentiates between works of certain authenticity, works of uncertain authenticity and doubtful works. The eight volume edition, complete with commentaries in German and English, reflects the latest state of scholarly research.

Volume II.� completes the publication of the Urtext edition. Volumes II.� and � include all �� fantasias and echo fantasias which have survived under Sweelinck’s name or are attributed to him, four ricercari and a capriccio. The appendix contains four further fantasias. In addition, several compositions are published for the first time in different, presumably original versions.

Organ

sWeeLinCKB ä r e n r e i t e r U r t e x t

sämtliche orgel- und ClavierwerkePolyphone Werke (teil 2)

Complete organ and Keyboard WorksPolyphonic Works (Part 2)

ii.2

Bärenreiter

Jan Pieterszoon SweelinckComplete Organ and Keyboard Works, Volume II.2: Polyphonic Works, Part 2Fantasias, Echo Fantasias, Ricercari, Capriccio

Bärenreiter Urtext

Edited by Siegbert RampeBA 8476* approx. E 34.95To appear in March �0�0

l Definitive complete Urtext edition

l Each volume contains facsimiles and a critical commentary (Ger/Eng) with a list of sources

l Detailed forewords (Ger/Eng) on the structure of the works and editorial technique

l With tips on instrumentation and performance practice

l Notes on ornamentation

Already published:

Jan Pieterszoon SweelinckComplete Organ and Keyboard WorksVolume I.�: Toccatas (Part �)BA 8473 E 36.50

Volume I.�: Toccatas (Part �)BA 8474 E 36.50

Volume II.�: Polyphonic Works (Part �)BA 8475 E 38.95

Volume III.�: Chorale Settings (Part �)BA 8485 E 34.95

Volume III.�: Chorale Settings (Part �)BA 8486 E 34.95

Volume IV.�: Variations on Song and Dance TunesBA 8487 E 34.95

Volume IV.�: Variations on Song and Dance TunesBA 8494 E �9.95

*New IssueTitle

Special set price for all 8 volumesBA 8500 approx. E �30.00

Save E 50.00

BA 8500BA 8476

30

BA 9�37 approx. E �9.95


Organ

Louis VierneComplete Organ Works, Volume IXMasses and Individual, Liturgical Works

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 well-known outside France. His pupils included Marcel Dupré whose pupil Thierry Escaich has worked on this edition. Vierne’s organ works are masterpieces of organ music and firmly established in the virtuoso organ repertoire. In particular, Vierne took the form of the organ symphony to new stylistic heights and had a decisive influence on the development of the art of organ playing worldwide.

l Evaluation of all available autograph manuscripts, 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

Already published:

Louis VierneOrgan Works

Symphony No. 3 op. �8Volume IIIBA 9��3 € ��.95

Pièces en style libre pour orgue ou harmoniumVolume 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. 53BA 9��8 € ��.95

Volume VII.3: (Livre III, �3–�8) op. 54BA 9��9 € ��.95

Volume VII.4: (Livre IV, �9–�4), op. 55BA 9�30 € ��.95

Louis ViernePiano WorksVolume II: Douze Préludes op. 36 / Trois Nocturnes op. 35BA 96�� € �8.95

Volume III: The Last Works (�9�6–�9��)BA 96�3 € �8.95

No distribution rights for France, Italy and Spain.

Vierne

L‘Œuvre d‘orgue

Complete organ Works

sämtliche orgelwerke

ix

Bärenreiter


Louis VierneComplete Organ Works, Volume IXMasses and Individual, Liturgical Works

Bärenreiter Urtext

Edited by Helga Schauerte-Maubouetwith Thierry Escaich, Jean-Pierre Mazeirat and Rollin Smith

New IssueTitle

3�

Solo Voice and Organ

Marian Hymns from the 18th to the 20th Centuries Settings for Solo Voice and OrganVolume II: Alma Redemptoris mater · Ave Regina coelorum · Regina coeli · Ave maris stella

n Great significance is attached to the Marian antiphonsalong with the cult of the veneration of the Virgin Mary. This two volume edition contains Latin settings of Marian antiphons from the �8th to the �0th centuries. The first volume, already published, contains settings of the Marian antiphon Salve Regina, whilst the second volume contains the three other Marian antiphons and the Marian hymn Ave maris stella. These two volumes contain an anthology of works by Johann Michael Haydn, Bruckner, Gounod, Dvoøák, Elgar, Grieg, Liszt, Mendelssohn a.o. which have been arranged for medium voice and organ without compromising any of the originality of the pieces.

l Practical performing edition for use in the mass and at church concerts

l Well-known settings of moderate technical difficulty

Marian Hymns from the 18th to the 20th CenturiesSettings for Solo Voice and OrganVolume II: Alma Redemptoris mater · Ave Regina coelorum · Regina coeli · Ave maris stellaEdited and arranged by Peter WagnerBA 9�68 approx. E �6.95


Already published:

Marian HymnsSettings for Solo Voice and OrganVolume I: Salve ReginaEdited and arranged by Peter WagnerBA 9�57 E �6.95

Ave Maria, gratia plenaAve Maria settings from the �9th and early �0th centuriesfor medium Solo Voice and OrganEdited and arranged by Peter WagnerBA 8�50 E �5.95

New IssueTitle

3�

Solo Voice

Jean-Philippe RameauMusique vocale profane, volume 1Secular Vocal Music, volume 1

Cantates pour voix de dessus, CanonsCantatas for High Voice, Canons

n At the time when Jean-Philippe Rameau was interested in the form of the cantata, the French form of the genre tended to concentrate on mythological, pastoral or allegorical themes. As a highly popular genre, the cantatas were performed by amateurs and professional musicians in concerts, private performances and on special occasions.

However, in his cantatas, Rameau tried out his dramatic gifts by creating “mini operas”. Until now, only two of the seven surviving cantatas have been available – Le Berger fidelle and Aquilon et Orithie; this edition is therefore sure to guarantee great discoveries.

Jean-Philippe RameauMusique vocale profane, volume 1Cantatas for High Voice, CanonsEdited by Jean-Paul C. Montagnier (Cantatas) and Sylvie Bouissou (Airs)BA 8946 E 49.95

Folder with score and parts(Soprano; Flute; Violin I; Violin II; Basso continuo)

Even though the genre of the canon played a minor role in Rameau’s output, he nevertheless made some important contributions. The daring modulations in all their tonalities demonstrate how the contrapuntal dimension fascinated the composer. The four individual surviving airs were probably written as occasional pieces.

BA 8946 (Vol. �) and BA 8948 (Vol. �) are based on the volume published as part of the Opera Omnia Rameau, série III, volume I, Cantates, Canons, Airs (BA 8855) and contain the following work numbers: RCT ��-�8 (Cantatas), RCT �7-�0bis (Canons) and RCT ��-��4 (Airs). They are published in a folder each containing score and parts.

Volume 1 Contents

l Cantatas Le Berger fidelle Cantate pour le jour de la Saint-Louis L’Impatience Orphée

lCanons Ah! loin de rire Avec du vin, endormons-nous L’Épouse entre deux draps Je suis un fou Mes chers amis Réveillez-vous dormeur sans fin Si tu ne prends garde à toi

Already published

33

Volume 2 Contents

lCantatas Les Amants trahis Aquilon et Orithie Thétis

lAirs L’Amante préoccupée Lucas, pour se gausser (duo bachique) Lucas, pour se gausser (trio bachique) Non, non le dieu qui sait aimer Un Bourbon ouvre sa carrière

Jean-Philippe RameauMusique vocale profane, volume 2Secular Vocal Music, volume 2

Cantates pour voix de basse et en duo, AirsCantatas for Low Voice and for two Voices, Airs

Jean-Philippe RameauMusique vocale profane, volume 2Cantatas for Low Voice and for two Voices, AirsEdited by Jean-Paul C. Montagnier (Cantatas) and Sylvie Bouissou (Airs)BA 8948 E 46.95

Folder with score and parts (Soprano; Counter tenor; Bass; Violin I; Violin II; Basso continuo)

Already published

In addition to a continuo accompaniment, five of the cantatas require two “obbligato dessus” (high obbligato instrumental parts). The choice of instruments (violin and/or flute and/or oboe) is free and furthermore, the scoring can be several instruments to a part. L’Impatience, Les Amants trahis and Orphée are intended to have a bass viol whose function changes between a concertato and a continuo instrument. In a chamber music context, the (figured) continuo part is simply played by bass stringed instruments.

Solo Voice

34

Cat StevensWild World

n Since they were written in the late �960s, Cat Stevens’ songs have remained firm favourites with the young and young-at-heart. One of his best-known songs, as so often, describes a short love story set in the big wide world. A cantabile melody and intense rhythmic passages unfold in a setting for four voices to create a special treat. The singing text is in English.

Cat StevensWild WorldArranged and edited by Stefan Kalmer for SATB choir (Eng)BE 7�7 approx. E 3.50


Wild World (Cat Stevens)Stefan Kalmer (Arr.)

Alex Haas / Willie JakobDo ge da jaEdited by Stefan Kalmer for SATB choir (Ger/Eng)BE 7�9 approx. E 3.50


Do ge da ja

Alex Haas / Willie Jakob

Popular Choral Music

New IssueTitle

New IssueTitle

Alex Haas / Willie JakobDo ge da ja

n Do ge da ja (Bavarian for ‘Da geht er ja’ [There he goes]) has a charming, succinct text. In the four-part choral setting with solo passages throughout (soprano or tenor, but they can also alternate) and body percussion, the composer has created a piece which keeps both choir and audience in good spirits. The short singing text has also been transferred into English.

V = 74

Wild WorldWords & Music by Cat Stevens

BE 727

S

A

T

B

3

5

IntroAm

*) la

Mel.

la la la la

D7

la la la la lah

GŠ7

la la la la la

CŠ7

la la la la lah

*) la la la la la la la la la lah la la la la la la la la la lah

8la*) la lah la la lah la la lah la la lah

la*) la lah la la lah la la lah la la lah

FŠ7

la la la la la

Dm7

la la lah la la la

E

la, la la la lah la

la la la la la la la lah la la la la, la la la lah la

8la la la la la lah la la la la,

la la la la la lah la la la la,

Verse 1Am

1. Now that I’ve lost

D7

e v’ry- thing- to you,

GŠ7

you say you wan

CŠ7

na- start some thing-

1. Now that I’ve lost e v’ry- thing- to you, you say you wan na- start some thing-

81. Now that I’ve lost e v’ry- thing- to you, you say you wan na- start some thing-

1. Now

Intro - Verse 1 - Chorus - Verse 2 - Chorus - Verse 3 - Chorus - Chorus*) »la la la« - sing »lal lal lal« / »lah« sing »laa«

© Copyright 1970 Salafa Limited. This Arrangement © Copyright 2000 Salafa Limited. Used by permission of Music Sales Limited. All Rights Reserved. International Copyright Secured. Cover: www.takeoff-ks.de, christowzik + scheuch (unter Verwendung eines Fotos von Dolf Rabus).

that I’ve lost e v’ry- thing- to you, you say you wan na- start some thing-

35

Idomeneo K. 366 with ballet K. 367**ISBN 978-3-7618-1880-0

Die Entführung aus dem SerailK. 384*ISBN 978-3-7618-1881-7

Le nozze di Figaro K. 492**ISBN 978-3-7618-1882-4

Don Giovanni K. 527**ISBN 978-3-7618-1883-1

Così fan tutte K. 588**ISBN 978-3-7618-1884-8

Die Zauberflöte K. 620**ISBN 978-3-7618-1885-5

La clemenza di Tito K. 621*ISBN 978-3-7618-1886-2

With introductions (English/German). Format: 34 x 26 cm. Cloth-bound and half leather with gold embossed lettering Each opera 248.00

* 1 facsimile + text volume** 2 facsimile volumes + text volume

No distribution rights for the USA and Canada.

Please ask for the brochure Mozart‘s Great Operas, in English (SPA 180).

Mozart’s Great OperasThe Packard Humanities Institute (PHI), Los Altos, Ca. and the International Mozarteum Foundation, Salzburg

present the autograph scores of the seven great Mozart operas

Mozart’s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart’s manuscript.

The FacsimilesConsolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of the latest technology

Now complete!

36

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