New Publications 1/2017

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The Programme New Publications Sheet Music 1/2017 New Issue Title 1

New Publications 1/2017 · The Programme

Contents

Piano

Bärenreiter Opera Kaleidoscope ...........23

Mozart: Sonata in A major (with the Rondo “Alla Turca”) for Piano K. 331 (300i). BA 9186 ..................... 3 Beethoven: Sonatas for Pianoforte Two Sonatas in G minor, G major op. 49.

BA 10858 .............................................................................4 Sonata in G major op. 79. BA 11815................................. 5 Three Sonatas in C minor, F major, D major op. 10.

BA 10857 .................................................................................6 Three Sonatas in G major, D minor, E-flat major op. 31. BA 11805 ..................................................................... 7 Sonata in F-sharp major op. 78. BA 11807 ................8

Vocal Scores / Opera

Strings / Chamber Music Mendelssohn Bartholdy: Complete Works for Violoncello and Piano. Volume I: BA 9096, Volume II: BA 9097 ........................................................ 9 Dvořák: Slavonic Dances arranged for Violoncello and Piano op. 46. BA 9568 ..........................................10 Dvořák: Concerto in A minor for Violin and Orchestra op. 53. BA 10422 .......................................... 11 Kim: Three Romances for Violin and Piano.

BA 10924 .......................................................................... 12 Beethoven: String Quartet in E-flat major op. 127.

BA 9029, TP 929 ..............................................................13 Dvořák: Piano Quintet in A major op. 5. BA 11539 ....... 14 Dvořák: Piano Quartet in D major op. 23. BA 9574 ..... 15

Ready to Play Goden: Schabbes, Schabbes.

Klezmer for 3 Clarinets. BA 10635 ........................... 16

Book on Music Svoboda, Roth: The Techniques of Trombone Playing ISBN 978-3-7618-2367-5 ................................................ 17

Facsimile

Handel: Orlando HWV 31. BA 4087-90 ......................... 24 Gounod: Faust. BA 8713-90 ..............................................25

Solo Voice Schubert: Lieder for Voice and Piano, Volume 8. High Voice BA 9108 / Medium Voice BA 9128 / Low Voice BA 9148 .................................... 26 Janáček: The Diary of One Who Disappeared.

BA 9575 .............................................................................27 Dvořák: Songs II for Voice and Piano.

High Voice: BA 11517 / Low Voice: BA 11518 ..... 28–29

Complete Editions Camille Saint-Saëns ......................................................30–31 New publications ................................................................ 40

Orchestra Dvořák: Slavonic Rhapsody in D major op. 45/1.

BA 10401 ...........................................................................32 Saint-Saëns: Symphony No. 3 op. 78. BA 7896 ............. 33 Fauré: Masques et Bergamasques op. 112.

BA 7894 ........................................................................... 34 Fauré: Pelléas et Mélisande. Suite for Orchestra op. 80. BA 7895 .............................................................. 35 Haydn: Symphony in G major Hob. I: 88.

BA 10980 ......................................................................... 36

Organ Bach: Organ Works, Volume 9. Organ Chorales from the Neumeister Collection. BA 5269 .......................37 Organ Plus One: Epiphany · Whitsuntide.

BA 8502 .............................................................................38

Beethoven: Missa solemnis op. 123 ISBN 978-3-7618-2395-8 ......................................... 18–19

Felix Mendelssohn Bartholdy, Complete Letters

Choir

Volume 12: BVK 2312 / ISBN 978-3-7618-2312-5............. 39 CD-ROM: BVK 2403 / ISBN 978-3-7618-2403-0 ........... 39

Fauré: Messe de Requiem. Female Choir BA 5695-90 ..................................................................... 20 Mendelssohn Bartholdy: Psalm “Non nobis Domine” “Nicht unserm Namen, Herr” op. 31.

BA 9079 ............................................................................ 21 Jansson: Sacred Choral Works De sancto Pelagio et sancto Theodolo, SATB and Organ. BA 8523 ............................................22 New Issue Title Two Poems, SATB. BA 8524 .........................................22

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Bärenreiter Notes Dvořák orange. BA 8100-21 ................................................ 41 Telemann green. BA 8100-24 ............................................ 41

MGG Online ......................................................... 42–43 Your Contacts............................................................ 44

Piano

Authentic Mozart Edition based on the first edition Artaria 1784

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Edition based on the autograph

Wolfgang Amadeus Mozart: Sonata in A major for Piano K. 331 (300i) (with the Rondo “Alla Turca”) Published in 1784, Mozart’s Sonata in A major “for clavier solo”, with the famous Rondo Alla Turca finale, is one of the most popular works in the entire piano literature. Now a newly resurfaced section of the autograph has prompted Bärenreiter to issue an up-to-date Urtext edition of this celebrated piece. The editor, Mario Aschauer, has set new editorial standards and offers the most innovative methodological approach of our time. His scholarly-critical performance edition is the only one to remain entirely true to the sources by presenting the musical text of the autograph and the original print separately.

Both forms of the sonata are historically legitimate; the editor has not merged the sources to produce a new text. The section on performance practice provides valuable information on Mozart’s claviers as well as on the refinement of touch, articulation, pedalling and ornamentation.

BÄRENREITER URTEXT Edited with notes on performance practice by Mario Aschauer BA 9186 · approx. € 7.50 (replaces BA 9178) To appear in March 2017

ISMN 979-0-006-56275-6

• Foreword with new insights into the work’s publication history (Eng/Ger) • Optimum page-turns and well-presented engraving

9 790006 562756

• Critical Commentary (Eng) • Includes valuable information on performance practice

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Piano

Beethoven sonatas in Bärenreiter Urtext The new Bärenreiter Urtext editions of the Beethoven piano sonatas are edited by Jonathan Del Mar, an internationally acclaimed and experienced authority on Beethoven.

Ludwig van Beethoven: Two Sonatas in G minor, G major for Pianoforte op. 49 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 10858 · approx. € 7.95 To appear in April 2017

Del Mar has meticulously examined every available source and moreover has evaluated the various impressions of prints issued during Beethoven’s lifetime.

The sonatas appear with a carefully edited musical text at the cutting edge of scholarship, rounded off by a Critical Commentary that documents every alternative reading and editorial decision.

An elegant and spacious engraving with practical pageturns invites pianists to explore the music. Detailed Introductions on the genesis and significance of the works are complemented by valuable suggestions regarding period performance practice.

One must look long and hard to find a piano pupil who hasn’t played Beethoven’s two sonate facile op. 49. They are not only relatively easy to play but highly lyrical and effective, ideally combining joy in musicmaking with a mastery of early classical literature. Beethoven wrote the two sonatas approximately between 1795 and 1798.

In addition, the small sonata op. 79 which is called a sonata in the autograph but a sonatina in the German first edition, also belongs to the standard repertoire for advanced beginners. Beethoven’s autograph, written in 1809, had a convoluted history: Muzio Clementi extracted the individual movements from the manuscript and sold them separately. Only a stroke of luck allowed them to be reunited many years later.

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Piano

Ludwig van Beethoven: Sonata in G major for Pianoforte op. 79 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 11815 · approx. € 6.95 To appear in May 2017

• Scholarly-critical Urtext editions at the cutting edge of scholarship • Practical page turns • Informative Introductions with valuable notes on period performance practice (Eng/Ger) • Belong to Beethoven's easier piano repertoire

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Piano

Beethoven sonatas in Bärenreiter Urtext

Ludwig van Beethoven: Three Sonatas in C minor, F major, D major for Pianoforte op. 10 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 10857 · approx. € 17.95 To appear in April 2017

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The three popular op. 10 sonatas were written between late 1795 and early 1798, and thus shortly after Beethoven’s first fully fledged set of op. 2 sonatas. The highlight of these technically demanding works is the third sonata with its highly expressive Largo e mesto.

Piano

Ludwig van Beethoven: Three Sonatas in G major, D minor, E-flat major for Pianoforte op. 31 BÄRENREITER URTEXT Edited by Jonathan Del Mar Beethoven achieved great mastery with his three op. 31 sonatas composed in the summer of 1802. The composer’s statement “I’m dissatisfied with my works to date; from now on I’ll take a new path” was made after finishing his Pastoral Sonata in D major op. 28 (BA 11814) and seems especially apt in view of these three works.

The centrepiece is undoubtedly the dramatic Sonata in D minor nicknamed The Tempest, which already fascinated his contemporaries.

“This sonata is perfect”, recalled Czerny, who referred to it as a “tone-painting”.

With an Introduction by Misha Donat and notes on performance practice by Jonathan Del Mar and Misha Donat BA 11805 · approx. € 21.95 To appear in June 2017

• Scholarly-critical Urtext editions at the cutting edge of scholarship • Practical page turns • Informative Introductions with valuable notes on period performance practice (Eng/Ger) • Include a Critical Commentary (Eng) New Issue Title

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New Publications 1/2017 · The Programme

Piano

Beethoven sonatas in Bärenreiter Urtext

Ludwig van Beethoven: Sonata in F-sharp major for Pianoforte op. 78 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 11807 · approx. € 10.95 To appear in April 2017

It is hard to believe that this highly lyrical and moderately difficult sonata of 1809 was preceded by the supremely dramatic Appassionata Sonata in F major op. 57 (BA 10852). Beethoven dedicated sonata op. 78 to his pupil Therese von Brunsvick, occasionally said by Beethoven scholars to be his “immortal beloved”. It is also to her that the sonata owes its nickname À Thérèse.

• Scholarly-critical Urtext edition at the cutting edge of scholarship • Optimal page turns • Informative Introduction with valuable suggestions on period performance practice (Eng/Ger) • Includes a Critical Commentary (Eng)

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Strings

“The Mozart of the 19th century” Robert Schumann

Felix Mendelssohn Bartholdy: Complete Works for Violoncello and Piano BÄRENREITER URTEXT Edited by R. Larry Todd Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians.

The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.

Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assai tranquillo.

• Urtext edition containing all of Mendelssohn’s works for violoncello and piano • Also includes reconstructions or completions of Mendelssohn’s

Volume I Sonata in B-flat major op. 45 Sonata in D major op. 58 BA 9096 · approx. € 32.95 Volume II Variations concertantes op. 17 Romance sans parole op. 109 Assai tranquillo Variations BA 9097 · approx. € 22.95 Special set price for both volumes BA 9098 · € 49.95 To appear in March 2017 ISMN 979-0-006-56430-9

unfinished works for violoncello and piano • Informative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pages

9 790006 564309

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BA 9098

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Strings

A welcome addition to the violoncello repertoire

Antonín Dvořák: Slavonic Dances arranged for Violoncello and Piano op. 46 Arranged by Jiří Gemrot Score with part BA 9568 · approx. € 19.95 To appear in March 2017

In 1891 Dvořák arranged the final eighth dance of his popular first set of the Slavonic Dances op. 46 for violoncello and piano. The Czech composer Jiří Gemrot, born in 1957, has followed his example and has arranged the remaining dances for the same scoring. However in order to approach Dvořák’s ideal sound Gemrot based his arrangements on the composer's orchestral score.

Dvořák’s own arrangement of Slavonic Dance No. 8 has been taken from the Complete Edition of the Works of Antonín Dvořák, Volume IV/3 (Compositions for Violoncello).

• First complete edition of the first set of Slavonic Dances arranged for violoncello and piano by Jiří Gemrot • Includes Dvořák’s own arrangement of Dance no. 8

ISMN 979-0-2601-0728-1

• With fingering and bowing by Tomáš Jamník • Foreword (Cz/Eng/Ger) by Eva Velická 9 790260 107281

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Strings

A romantic concerto masterpiece

Antonín Dvořák: Concerto in A minor for Violin and Orchestra op. 53 BÄRENREITER URTEXT Edited by Iacopo Cividini

Dvořák’s Violin Concerto was composed between 1879 and 1882, with the active assistance of Joseph Joachim, and was issued by the publisher Fritz Simrock, Berlin in 1883. Its premiere took place in October of that same year with František Ondříček as soloist.

This new Urtext edition is based on the first edition (score, solo violin part, piano reduction and orchestral parts). It also takes Dvořák’s autograph which served as a master copy for the engraving into consideration. A fresh assessment of Dvořák’s manuscript made it possible to reconstruct several variants ignored in the first and subsequent editions and to clarify ambiguities in the notation and articulation. An important component of our Urtext edition is the original piano reduction, which probably stems from Dvořák himself, and in which Joseph Joachim’s fingering is published.

Score BA 10422 · approx. € 59.00 (replaces H 1597) Piano reduction with a separate solo part BA 10422-90 · approx. € 15.50 (replaces H 1005) Wind set BA 10422-65 · approx. € 85.00 Violin I Violin II Viola Violoncello Double bass

BA 10422-74 BA 10422-75 BA 10422-79 BA 10422-82 BA 10422-85

approx. € 5.95 approx. € 5.95 approx. € 5.95 approx. € 5.95 approx. € 5.95

To appear in April 2017 ISMN 979-0-2601-0767-0

ISMN 979-0-2601-0768-7

• First Urtext edition of the original piano reduction • Variants in the solo part rendered as ossia passages

9 790260 107670

9 790260 107687

• Foreword on the work’s genesis (Ger/Cz/Eng) and detailed

BA 10422

BA 10422-90

Critical Commentary (Eng) by the editor

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Strings

Thrilling virtuosity

Roman Kim: Three Romances for Violin and Piano Score with part BA 10924 · approx. € 13.95 To appear in April 2017 ISMN 979-0-006-56330-2

9 790006 563302

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The young violin virtuoso Roman Kim arranges and composes violin music with high musical challenges and technical aplomb. Following his inimitable and unsurpassable arrangement of Bach’s Air for violin solo, Bärenreiter is now publishing an edition of his own compositions. These three romances give violinists ample opportunity to display their skills and to entrance the audience.

Kim’s concert success (most recently in China) and particularly his large circle of YouTube fans are impressive.

Already published: Johann Sebastian Bach Air Arranged for violin solo by Roman Kim BA 5140 · € 7.25

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Roman Kim's performances of all three romances and the Air can be viewed on YouTube

Strings

Beethoven’s late string quartet in a new edition This new scholarly-critical edition of String Quartet op. 127, the first of Beethoven’s late quartets, follows upon Urtext publications of opp. 18, 59, 74 and 95. Once more the editor is the renowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructed Beethoven’s original beaming, phrasing, articulation and length of crescendo hairpins, he has also corrected wrong notes that have taken hold in editions published over the years and has supplemented missing notes.

• Urtext edition at the cutting edge of scholarship, with detailed separate Critical Commentary (Eng) • Parts ideally laid out for performance purposes • Study score with an Introduction by Misha Donat on the work’s

Ludwig van Beethoven: String Quartet in E-flat major op. 127

genesis and performance history (Ger/Eng) BÄRENREITER URTEXT Edited by Jonathan Del Mar Already published:

Parts in slipcover BA 9029 · approx. € 23.95 Study score TP 929 · approx. € 12.95 To appear in April 2017

Ludwig van Beethoven String Quartets op. 18 BA 9016 · € 32.95 TP 916 · € 26.95

Critical Commentary BA 9029-40 · approx. € 37.95 To appear in June 2017

String Quartets op. 59 BA 9017 · € 37.50 TP 917 · € 22.50 String Quartets opp. 74, 95 BA 9018 · € 18.50 TP 918 · € 15.50

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BA 9029 New Issue Title

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Chamber Music

Early piano quintet

Antonín Dvořák: Piano Quintet in A major op. 5 Edited by Jarmil Burghauser and Karel Šolc Score with parts in slipcover BA 11539 · approx. € 23.95 (replaces H 2783) To appear in June 2017

In 1887 Antonín Dvořák revised several of the works he had composed in the 1860s and 1870s, most of which he then published for the first time. In this context he asked the music critic Ludevít Procházka to return a manuscript copy of the Piano Quintet in A major op. 5 (B 28), composed 15 years earlier. But after thoroughly revising the work he declined to publish it; instead, he wrote a new piano quintet in the same key – the famous op. 81. And so, the manuscript copy he requested from Procházka remains the sole source for this early piece of chamber music.

Dvořák’s first Piano Quintet in A major was never published during his lifetime. This edition presents the musical text from the Complete Edition of the Works of Antonín Dvořák, Volume IV/11.

ISMN 979-0-2601-0803-5

• Now with a new detailed Foreword (Eng/Cz/Ger)

by David R. Beveridge

9 790260 108035

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Chamber Music

New Urtext edition

Antonín Dvořák: Piano Quartet in D major op. 23 for Violin, Viola, Violoncello and Piano BÄRENREITER URTEXT Dvořák’s Piano Quartet in D major, though composed at the height of his artistic maturity, is to date unjustly overshadowed by his more popular works. It was written within the space of 18 days in the summer of 1875 and was later revised, probably in preparation for its publication. This revision, which was also taken into account for the first edition issued by the publisher Schlesinger, Berlin in 1880, serves as the primary source for this new Urtext edition. The premiere took place in Prague in 1880.

Edited by Robin Tait Score with parts in slipcover BA 9574 · approx. € 24.95 (replaces H 2552) To appear in May 2017

• New detailed Foreword (Eng/Cz/Ger) by Dvořák scholar David R. Beveridge • Critical Commentary (Eng) by the editor Robin Tait

ISMN 979-0-2601-0788-5

9 790260 107885

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New Publications 1/2017 · The Programme

Yiddish songs for 3 clarinets

Peter Goden: Schabbes, Schabbes Klezmer for 3 Clarinets BA 10635 · approx. € 14.95 (replaces BA 8160) To appear in April 2017

Klezmer music is highly popular with clarinettists and audiences alike.

This volume gathers together eleven Yiddish melodies with the typical, slightly melancholy klezmer touch. The impact is all the greater when they are played by three clarinets, enriching the harmonies and enlivening the overall effect. All three parts are of equal – easy – technical difficulty so that the three players can choose and master any part they wish. The more ambitious players are free to play ornamentations, embellishments and improvised solos typical of the klezmer style.

From the contents Schabbes, Schabbes, Schabbes / As der Rebbe lacht / Gassn-nign / Papir is doch wayss / Wu is doss gessele?

ISMN 979-0-006-56344-9

Already published: 9 790006 563449

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Douglas Woodfull-Harris Classic Hits for two clarinets BA 10636 · € 12.95

Book on Music

A new addition to a successful series With The Techniques of Trombone Playing, Mike Svoboda has written a book conceived as a valuable guide for composers and trombonists.

It familiarises composers with contemporary trombone techniques and shows how to put them to creative use. Furthermore it helps trombonists to view and employ their versatile instrument as a multi-functional sound generator. Together with composer Michel Roth, Mike Svoboda explores what might today be called “the unlimited expansion of new performance possibilities”: micro-intervals, multiphonics and the combination of the trombone sound with the human voice – all accurately described and illustrated with many annotated music examples.

• Includes many tables and music examples on the basics and expanded techniques of trombone playing • Practical information on mutes, repertoire, etc.

• With newly composed études which can be downloaded as sound files from the Bärenreiter website The authors Since September 2007 Mike Svoboda has been professor of trombone and contemporary chamber music at the Basel Academy of Music (Switzerland). Of formative importance to his artistic development was his nearly 11-year collaboration with Karlheinz Stockhausen in the 1980s and 1990s. His exchanges with Stockhausen and other composers, such as Peter Eötvös, Beat Furrer, Helmut Lachenmann, Wolfgang Rihm and Frank Zappa, allowed him to premiere more than 400 works over the last 30 years.

Mike Svoboda, Michel Roth: The Techniques of Trombone Playing English and German text approx. 200 pp. with many music examples and illustrations Sound files available on the Bärenreiter website; paperback BVK 2367 · approx. € 54.00 To appear in May 2017

Michel Roth is professor of composition and music theory at the Basel Academy of Music and a member of their research department. As a composer, he has been a regular guest at various international music festivals and more recently particularly in the area of music theatre.

Numerous radio and CD productions document his compositional output for which he has also been awarded the composition prize by Music Viva, Munich. In addition Roth also researches and publishes on subjects concerned with music and art theory.

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“One of the most grandiose artistic working processes ever documented in the history of music”

Hans-Joachim Hinrichsen

Beethoven struggled with the Missa solemnis for years, searching for a highly personal way to deal with the words and musical traditions of the Mass Ordinary. In the end he produced a work that leaves no listeners cold – some are puzzled but a great many are deeply moved.

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Highest Authenticity

The autograph reflects how intensively he worked on the Missa solemnis and what a difficult work process it was. Apart from the many corrections there are several torn-out pages. Sometimes Beethoven could only proceed by stitching replacement pages into the manuscript.

Beethoven authority Hans-Joachim Hinrichsen unveils the stages of its genesis in an understandable and rather detective-like manner.

In addition Martina Rebmann, head of the music department, explains how this and other autographs

were gradually acquired for the Beethoven collection in the Berlin Staatsbibliothek.

Ludwig van Beethoven Missa solemnis

Reproduced in high-quality fourcolour printing, the facsimile replicates the page stubs and foldout pages, thereby emulating the feel of the original source. Judicious inscriptions with movement headings, continuous pagination, scholarly foliation and measure numbers help readers to find their way more easily in the manuscript.

Facsimile of the autograph score held in the Staatsbibliothek zu Berlin – Preussischer Kulturbesitz With a Commentary by Hans-Joachim Hinrichsen and Martina Rebmann Documenta musicologica II, 51 340 pp. of facsimile and 29 pp. of Commentary (Eng/Ger); Half-leather binding BVK 2395 € 695.00

op. 123

Already published

With fold-out pages glued in by hand

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Choir

A popular Requiem arranged for female voices

Gabriel Fauré: Messe de Requiem Arranged for Soloists, Choir SSAA

by Malcolm Bruno Organ reduction by Ingo Bredenbach Bärenreiter Female Choir series Vocal score with organ reduction BA 5695-90 (Lat) · approx. € 10.25 To appear in May 2017

In this arrangement of Fauré’s Requiem for soloists (SA), female choir (SSAA) and organ, the tenor and bass parts are distributed among the altos which has necessitated some judicious adaptations in the partwriting. The second soprano replicates the original alto part largely unchanged, while the original baritone solo now resounds in the alto.

The organ arrangement takes all three versions of the Requiem into consideration but primarily follows the second version of 1893 in terms of the rhythmic presentation of the instrumental parts.

However, the organ part is tailored to the arrangement rather than trying to imitate the sound of the orchestra.

This vocal score is compatible with the performance material of the original work (BA 9461).

ISMN 979-0-006-56348-7

• Arrangement for female choir (SSAA) based on the Urtext of Gabriel Fauré The Complete Works

9 790006 563487

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• Includes an idiomatic organ reduction

Choir

The first great orchestral psalm Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838. Unlike his other orchestral psalms, Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.

This edition by the leading Mendelssohn authority John Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath. Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary. The piano reduction stems from Mendelssohn himself.

• Informative Foreword in the score (Ger/Eng) • Text underlay in two languages (Lat/Ger) • Piano reduction by the composer

Felix Mendelssohn Bartholdy: Psalm “Non nobis Domine” “Nicht unserm Namen, Herr” op. 31 for Soloists (STBar), Choir (SATB) and Orchestra

BÄRENREITER URTEXT Edited by John Michael Cooper Piano reduction by the composer

Latin text from the Vulgate (Psalm 113) German text by Mendelssohn after Psalm 115 in the Luther Bible

Score BA 9079 · approx. € 34.95 Vocal score (Lat/Ger) BA 9079-90 · approx. € 8.95

ISMN 979-0-006-53137-0

Wind set BA 9079-65 · approx. € 29.95

9 790006 531370

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Violin I Violin II Viola Violoncello Double bass

BA 9079-74 BA 9079-75 BA 9076-79 BA 9079-82 BA 9079-85

approx. € 3.95 approx. € 3.95 approx. € 3.95 approx. € 3.95 approx. € 3.95

BA 9079

ISMN 979-0-006-53144-8

9 790006 531448

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BA 9079-90

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SACRED CHORAL WORKS NEW !

Sample score SPA 227

Video samples on

Download at r. eite www.baerenr com

Mårten Jansson: Sacred Choral Works De sancto Pelagio et sancto Theodolo (SATB and Organ) (Lat) BA 8523 · approx. € 4.95

Two Poems (SATB) (Swed/Eng) BA 8524 · approx. € 4.95 To appear in March 2017 ISMN 979-0-006-56419-4

9 790006 564194

BA 8524 New Issue Title

ISMN 979-0-006-56418-7

De sancto Pelagio et sancto Theodolo is a transcription of a composition originally conceived for choir and large orchestra.

The texts, which stem from the liturgical chants “Cantionale” by Thomas Kress, serve as a medieval sacred counterpart to the texts of Carl Orff’s “Carmina Burana”. The composition tries to capture the same archaic feel as “Carmina Burana” but with a more solemn sacral atmosphere.

The two poems Triptyk (Triptych) and Mörkblå tillit (Dark Blue Trust) are written by hospital chaplain/author Kerstin Dillmar. In Mörkblå tillit the key message to trust that we will be received after passing away in sleep is effectively expressed by the music. Triptyk on the other hand describes a journey within a person in three stages depicted by music which starts with a dark-searching tonality and then describes the simple beauty of trust through to a joyful expectation of hope ending with a strong conviction.

9 790006 564187

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22 All titles already released on

Bärenreiter Opera Kaleidoscope

A true opera appetiser This collection of opera arias for soprano (or mezzo-soprano) and piano offers a cross-section of Bärenreiter’s extensive catalogue of stage works. An affordable anthology with such well-known and favourite arias as Handel’s famous “Ombra mai fu” and Mozart’s “Ach ich fühl’s, es ist verschwunden!” is not only suited for voice students and aspiring singers preparing for examinations and auditions, but also provides seasoned professionals with inspiration and material for programming their recitals. The collection spans a representative arch from the early baroque to the romantic era, gathering together repertoire masterpieces by Monteverdi, Handel, Gluck, Haydn, Mozart, Beethoven, Berlioz, Smetana and Chabrier. The pieces are in Italian, French, Czech and German and include, for the most part, a singable translation in German. The spectrum ranges from the declamatory style to easy coloratura. The piano arrangements have been prepared by experienced conductors and répétiteurs.

Only

• A Bärenreiter anthology for opera singers

€ 5.00

• Contains important arias from the opera repertoire for (mezzo-)soprano Contents Ludwig van Beethoven: “O wär’ ich schon mit dir vereint”, Marzelline’s aria from Fidelio / Hector Berlioz: “Adieu, fière cite”, Dido’s aria from Les Troyens / Emmanuel Chabrier: “Ô petite étoile !”, Lazuli’s romance from L’Étoile / Christoph Willibald Gluck: “Divinités du Styx”, Alceste’s aria from Alceste (Paris version 1776) / Christoph Willibald Gluck: “Qual vita è questa mai” – “Che fiero momento”, Eurydice’s recitative and aria from Orfeo ed Euridice (Vienna version 1762) / George Frideric Handel: “Tornami a vagheggiar”, Morgana’s aria from Alcina (HWV 34) / George Frideric Handel: “Frondi tenere” – “Ombra mai fu”, Xerxes’ recitative and aria from Serse HWV 40 / Joseph Haydn: “È amore di natura”, Nerina’s aria from La fedeltà premiata Hob. XXVIII:10 / Claudio Monteverdi: “Signor, quel infelice”, Proserpina’s aria from L’Orfeo / Wolfgang Amadeus Mozart: “Ach ich fühl’s, es ist verschwunden!”, Pamina’s aria from The Magic Flute K. 622 / Wolfgang Amadeus Mozart: “Giunse alfin il momento” – “Deh vieni non tardar”, Susanna’s recitative and aria from The Marriage of Figaro K. 492 / Bedřich Smetana: “Kdybych se co takového” (“If I ever should find out”), Mary’s aria from Prodaná nevěsta (The Bartered Bride) An appetiser for our high-quality Urtext opera vocal scores – give it a try and enjoy!

BÄRENREITER OPERA KALEIDOSCOPE for Soprano BA 8828 · € 5.00 Already published

ISMN 979-0-006-56403-3

9 790006 564033

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Vocal Scores / Opera

A mature masterpiece

George Frideric Handel: Orlando HWV 31 Opera in tre atti Libretto after Ludovico Ariosto and Carlo Sigismondo Capeci BÄRENREITER URTEXT Edited by Siegfried Flesch, revised and amended

by Terence Best Piano reduction by Michael Pacholke Singable translation (Ger) by Peter Brenner Vocal score (Ital/Ger) BA 4087-90 · approx. € 32.95 (replaces BA 4027-90) Performance material available on hire

Premiered in London in 1733, Handel’s “magic opera” Orlando is based on a libretto by Carlo Sigismondo Capeci that derives indirectly from Lodovico Ariosto’s epic poem Orlando furioso. This subject was very popular at the time and was frequently set to music, e.g. by JeanBaptiste Lully, Agostino Steffani and Joseph Haydn. The title role of Orlando is the last one that Handel wrote for the celebrated castrato Senesino. Several stunning stage effects intended to illustrate Zoroastro’s sorcery call for sophisticated baroque stage machinery.

The piano reduction has been carefully revised and adapted in keeping with the revised score. It contains a new Foreword by Handel authority Terence Best.

To appear in April 2017 • Urtext edition based on the Halle Handel Edition ISMN 979-0-006-56328-9

• With a singable translation in German • Adapted in keeping with the revised and amended score

9 790006 563289

• Comprehensive bilingual Foreword (Eng/Ger) • Idiomatic piano reduction

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Vocal Scores / Opera

A milestone in French opera: Gounod’s “Faust”

Charles Gounod: Faust Opéra en cinq actes Libretto by Jules Barbier and Michel Carré BÄRENREITER URTEXT It was Faust, after Part I of Goethe’s like-named drama, that established Charles Gounod’s worldwide fame. The aging Faust enters a pact with the Devil, selling his soul to Mephistopheles and receiving his restored youth in return. He also experiences the happiness of new love when he meets the young Margaret.

This vocal score of Gounod’s masterpiece presents many of its familiar numbers, such as Marguerite’s Jewel Song and the Ballad about the King of Thule, Mephistopheles’ rondo on the Golden Calf and Faust’s cavatina “Salut! demeure chaste et pure”.

• Urtext edition based on the L’Opéra français series

Edited by Paul Prévost Piano reduction by Karl-Heinz Müller Singable translation (Ger)

by Stefan Trossbach Vocal score (Fr/Ger) BA 8713-90 · approx. € 52.00 Performance material available on hire To appear in May 2017

• Informative Foreword by the editor (Fr/Ger/Eng) • Idiomatic, easy-to-play piano reduction

ISMN 979-0-006-53795-2

• With a singing translation in German

9 790006 537952

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Solo Voice

Schubert lieder in a new Bärenreiter Urtext edition Walther Dürr presents Volume 8 of the new Urtext edition of Schubert’s lieder in separate books for high, medium and low voice.

This volume contains lieder originating during the latter half of 1815, between August and November. Three series of lieder, each based on a particular poet, immediately catch the eye: they consist of a number of Ossian settings, a group of Klopstock lieder and finally another set on texts that Schubert found in a Viennese almanac (Selam).

Furthermore, the series of Schubert lieder on texts by the North German poet Ludwig Theobul Kosegarten which starts in Volume 7, is concluded in this volume.

Franz Schubert: Lieder for Voice and Piano, Volume 8

• Based on the Urtext of the New Schubert Edition • Clear and uncluttered engraving • Foreword by Walther Dürr on the genesis and history of the work as well as an explanation of the sources for each individual lied (Ger/ Eng)

BÄRENREITER URTEXT Edited by Walther Dürr BA 9108 High Voice · € 35.95 BA 9128 Medium Voice · € 35.95 BA 9148 Low Voice · € 35.95 Already published

ISMN 979-0-006-53057-1

BA 9108 New Issue Title

9 790006 530571

ISMN 979-0-006-53068-7

BA 9128 New IssueNova Title

9 790006 530687

ISMN 979-0-006-53079-3

BA 9148 New Issue Title

Issue Title 9New 790006 530793

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• Includes English translations of the lieder texts by Richard Wigmore Contents Die Fröhlichkeit, D 262 / Cora an die Sonne, D 263 / Der Morgenkuss, D 264 (version 1) / Abendständchen: An Lina, D 265 / Morgenlied, D 266 / An die Sonne (‘Sinke, liebe Sonne’), op. posth. 118, no. 5 / D 270 / Der Weiberfreund, D 271 / An die Sonne (‘Königliche Morgensonne’), D 272 / Lilla an die Morgenröte, D 273 / Tischlerlied, D 274 (version 1) / Totenkranz für ein Kind, D 275 / Abendlied, D 276 / Ossians Lied nach dem Falle Nathos, D 278 (version 3) / Das Rosenband, D 280 / Das Mädchen von Inistore, D 281 (version 2) / Cronnan, D 282 (version 2) / Lied, D 284 / An Cidli [Furcht der Geliebten], D 285 (version 2) / Selma und Selmar, D 286 (version 2) / Vaterlandslied, D 287 (version 2) / An Sie, D 288 / Die Sommernacht, D 289 (version 2) / Die frühen Gräber, D 290 / Dem Unendlichen, D 291 (version 3) / Shilric und Vinvela, D 293 (version 2) / Hoffnung, D 295 (version 2) / An den Mond, D 259 (first setting) / An den Mond, D 296 (second setting) / Augenlied, D 297 (version 2) / Liane, D 298 / Der Jüngling an der Quelle, D 300 / Lambertine, D 301 / Labetrank der Liebe, D 302 / An die Geliebte, D 303 / Wiegenlied, D 304 / Mein Gruß an den Mai, D 305 / Skolie, D 306 / Die Sternwelten, D 307 / Die Macht der Liebe, D 308 / Das gestörte Glück, D 309 / Die Sterne, D 313 / Nachtgesang, D 314 / An Rosa I, D 315 (version 2) / An Rosa II, D 316 (version 2) / Idens Schwanenlied, D 317 (version 2) / Schwangesang, D 318 / Luisens Antwort, D 319 (version 2) / Der Zufriedene, D 320 / Mignon, D 321 (version 2) / Herrmann und Thusnelda, D 322 (version 2) / Klage der Ceres, D 323 Appendix I (Parallel versions) Der Morgenkuss, D 264 (version 2) / Tischlerlied, D 274 (version 2) / Vaterlandslied, D 287 (version 1) / Hoffnung, D 295 (version 1) / An Rosa II, D 316 (version 1) Appendix II (Lower transpositions of three lieder contained only in the volume for high voice) Die Fröhlichkeit, D 262 / Abendständchen: An Lina, D 265 / Mignon, D 321 (version 2)

Solo Voice

A chamber-music drama

Leoš Janáček: The Diary of One Who Disappeared for Tenor, Alto, Three Female Voices and Piano Janáček's intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance, and exit cues and lighting effects. Composed in 1917-19, the Diary was premiered in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscript served as a basis for the first edition which was issued by the Brno publisher Oldřich Pazdírek in 1921 as well as for this current first Urtext edition.

on poems by Ozef Kalda (Cz/Ger/Eng) BÄRENREITER URTEXT Edited by Jiří Zahrádka Score BA 9575 · € 19.95 (replaces H 935) Already published

• First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor

ISMN 979-0-2601-0777-9

• Translations of song texts in German (by Max Brod) and English (by Bernard Keefe)

9 790260 107779

• Numbers IX to XI which include the alto and three female voices are available on our website for download

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Solo Voice

Dvořák’s songs in an Urtext edition

Antonín Dvořák: Songs II for Voice and Piano BÄRENREITER URTEXT Edited by Veronika Vejvodová Vocal texts: Cz/Eng/Ger High Voice BA 11517 · approx. € 28.95 To appear in May 2017

Following the publication of Dvořák’s early set of love songs Cypresses, all his other songs with piano accompaniment are now appearing in Urtext editions.

Songs II includes the mature works from Dvořák’s late period. Besides the well-known cycle Love Songs and the less well-known cycle Three Modern Greek Songs, the volume also contains some entirely unknown and previously unpublished pieces: Lullaby and the posthumously published Song from The Smith of Lešetín completed by Josef Suk. The songs are presented in chronological order in volumes for high and low voice. Each volume contains the vocal text underlaid in three languages (Cz/Eng/Ger). For the most part the translations have been taken from the first edition.

ISMN 979-0-2601-0798-4

9 790260 107984

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Solo Voice

Contents Tři novořecké básně op. 50 (B 84a, B 84b) (Three Modern Greek Songs) Písně na slova Gustava Pflegra-Moravského op. 2 (B 123–124) (Songs on Poems by Gustav Pfleger-Moravský) Dvě písně na lidové texty s. op. (B 142) (Two Czech Folk Poems) V národním tónu op. 73 (B 146) (In Folk Style) Čtyři písně op. 82 (B 157) (Four Songs) Písně milostné op. 83 (B 160) (Love Songs) Ukolébavka s. op. (B 160) (Lullaby) Zpěv z Lešetínského kováře, op. posth. (B 204) (Song from The Smith of Lešetín)

Antonín Dvořák: Songs II for Voice and Piano BÄRENREITER URTEXT

• Second volume of the new five-volume Urtext edition of the complete songs • First Urtext edition with detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor • Some songs appear for the first time in print • Vocal texts in three languages (Cz/Eng/Ger)

Edited by Veronika Vejvodová Vocal texts: Cz/Eng/Ger Low Voice BA 11518 · approx. € 28.95 To appear in May 2017

ISMN 979-0-2601-0799-1

9 790260 107991

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CAMILLE SAINT-SAËNS Œuvres instrumentales complètes Complete Edition of the Instrumental Works

Subscription Offer

The Subscription

Bärenreiter is publishing the Complete Edition of the Instrumental Works by Camille Saint-Saëns. This will include a corpus of over three hundred works which will appear in 4 series comprising a total of 36 volumes.

Available on complete subscription or partial subscription by series at reduced prices. The volumes can also be purchased individually.

Of these works Le Carnaval des animaux, the third, so-called “Organ Symphony”, the symphonic poem Danse macabre, along with many concertos and concert pieces for piano, violin and violoncello as well as chamber music works form an integral part of any orchestra’s, ensemble’s and soloist’s repertoire worldwide, thereby confirming Saint-Saëns’s rank among the greatest composers of the 19th and early 20th centuries.

The Editors Chief Editor

Michael Stegemann

Editorial Committee

Cécile Davy-Rigaux Sylvie Douche Yves Gérard Fabien Guilloux Denis Herlin François de Médicis Sabina T. Ratner New Issue Title Soret Marie-Gabrielle Christina M. Stahl Annette Thein

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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 publish performance material.

Publication Schedule I. Œuvres symphoniques

III. Musique de chambre

I.1 Symphonies (1) I.2 Symphonies (2) I.3 Symphonies (3) Symphonie n°3 (Michael Stegemann) 2016 I.4 Poèmes symphoniques (Hugh Macdonald) I.5 Suites d’orchestre I.6 Ouvertures I.7 Musiques de ballet et de film I.8 Œuvres diverses I.9 Œuvres pour orchestre d’harmonie I.10 Orchestrations

III.1 Quatuors à cordes (Fabien Guilloux) III.2 Quintette. Quatuors avec piano III.3 Trios III.4 Œuvres pour violon (1), Sonates (François de Médicis) III.5 Œuvres pour violon (2) III.6 Œuvres pour violoncelle III.7 Œuvres pour instruments à vent III.8 Septuor. Carnaval des animaux (Sabina T. Ratner) III.9 Transcriptions

BA 10303

R 365.00

BA 10307*

BA 10315*

BA 10304*

BA 10302*

IV. Œuvres pour piano, orgue et harmonium II. Œuvres concertantes II.1 II.2 II.3 II.4 II.5 II.6 II.7 II.8

IV.1 Œuvres originales et transcriptions pour deux pianos IV.2 Œuvres originales et transcriptions pour piano à quatre mains IV.3 Œuvres pour piano solo (1) : Études et fugues (Catherine Massip) BA 10310* IV.4 Œuvres pour piano solo (2) : Danses IV.5 Œuvres pour piano solo (3) : Morceaux divers IV.6 Œuvres pour harmonium (ou orgue) solo / œuvres pour harmonium et piano IV.7 Œuvres pour orgue IV.8 Transcriptions pour piano solo (1) IV.9 Transcriptions pour piano solo (2)

Œuvres pour piano et orchestre (1) Œuvres pour piano et orchestre (2) Œuvres pour piano et orchestre (3) Œuvres pour violon et orchestre (1) Œuvres pour violon et orchestre (2) Œuvres pour violoncelle et orchestre Œuvres pour instruments à vent et orchestre Œuvres pour instruments divers et orchestre. Œuvres pour harpe

*These volumes are planned to be published between 2017 and 2020 Please order the brochure “Saint-Saëns, Complete Edition of the Instrumental Works” (Eng/Ger), SPA 273

From: Symphony No. 3

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1/2017 31 New Publications · The Programme

Orchestra

The beginning of Dvořák’s “Slavonic Period”

Antonín Dvořák: Slavonic Rhapsody in D major op. 45/1 for Orchestra BÄRENREITER URTEXT Edited by Robert Simon Score BA 10401 · approx. € 34.95 Wind set BA 10401-65 · approx. € 58.00 Violin I Violin II Viola Violoncello Double bass

BA 10401-74 BA 10401-75 BA 10401-79 BA 10401-82 BA 10401-85

· · · · ·

approx. € 3.50 approx. € 3.50 approx. € 3.50 approx. € 3.50 approx. € 3.50

To appear in June 2017

Dvořák’s Slavonic Rhapsodies op. 45 were composed in 1878 and issued by the publisher Simrock, Berlin the following year. These three independent orchestral works (in D major, G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period.

The Slavonic Rhapsody op. 45/1 in D major now appears in an Urtext edition. The editor has made use of the first edition, authorised by the composer, as the principal source of his new scholarly-critical edition.

• A work marking the beginning of Dvořák’s so-called Slavonic period

ISMN 979-0-2601-0471-6

• Urtext edition incorporating every known source • Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor

9 790260 104716

BA 10401

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Orchestra

“… everything I had to give …” Saint-Saëns 3me Symphonie op. 78 Camille Saint-Saëns

Camille Saint-Saëns: Symphony No. 3 op. 78 for Orchestra BÄRENREITER URTEXT BA 7896

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.

The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.

• First scholarly-critical edition of this famous symphony based on

Edited by Michael Stegemann Score BA 7896 · approx. € 49.95 Wind set BA 7896-65 · approx. € 198.00 Organ Violin I Violin II Viola Violoncello Double bass

BA 7896-67 BA 7896-74 BA 7896-75 BA 7896-79 BA 7896-82 BA 7896-85

· · · · · ·

approx. € 9.95 approx. € 9.95 approx. € 9.95 approx. € 9.95 approx. € 9.95 approx. € 9.95

To appear in March 2017 ISMN 979-0-006-56333-3

Camille Saint-Saëns – Complete Edition of the Instrumental Works • Now with separate parts for all winds

9 790006 563333

• Orchestral parts in a large format (25.5 cm x 32.5 cm) New Issue Title

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BA 7896

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Orchestra

In the style of commedia dell’arte A mes arrière-petites nièces Nicole et Huguette Réveillac

Masques et Bergamasques Suite d'orchestre Op. 112

Gabriel Fauré: Masques et Bergamasques for Orchestra op. 112 BÄRENREITER URTEXT Edited by Robin Tait Score BA 7894 · € 24.95 Wind set BA 7894-65 · € 39.95 Violin I Violin II Viola Violoncello Double bass

BA 7894-74 BA 7894-75 BA 7894-79 BA 7894-82 BA 7894-85

· · · · ·

€ 3.95 € 3.95 € 3.95 € 3.95 € 3.95

Already published

ISMN 979-0-006-56254-1

9 790006 562541

BA 7894

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BA 7894

© 2016 by Bärenreiter-Verkag, Kassel

In 1918 Gabriel Fauré, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite op. 112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The op. 112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music.

This scholarly-critical edition of the four-movement Masques et Bergamasques op. 112 is based on Gabriel Fauré The Complete Works, Volume IV/2.

Orchestra

Incidental music with the famous “Sicilienne”

Gabriel Fauré: Pelléas et Mélisande Suite for Orchestra op. 80 BÄRENREITER URTEXT Edited by Robin Tait

Fauré wrote Pelléas et Mélisande in 1898 originally as incidental music to Maurice Maeterlinck’s like-named play. After the premiere and subsequent performances, he set about reworking the musical material into an orchestral suite. The premiere of the originally threemovement suite took place in February 1901 under the baton of Camille Chevillard.

In December 1912, the four-movement version of Pelléas et Mélisande was finally premiered. The additional movement, the Sicilienne, was taken from the third interlude of the incidental music. This delightful piece would later become one of Fauré’s most popular compositions and now exists in countless arrangements.

Bärenreiter’s new scholarly-critical edition of the four-movement orchestral suite Pelléas et Mélisande op. 80 is based on Gabriel Fauré The Complete Works, Volume IV/2 which appeared in 2016.

• First Urtext edition

Score BA 7895 · € 24.95 Wind set BA 7895-65 · € 39.95 Violin I Violin II Viola Violoncello Double bass

BA 7895-74 BA 7895-75 BA 7895-79 BA 7895-82 BA 7895-85

· · · · ·

€ 3.95 € 3.95 € 3.95 € 3.95 € 3.95

Already published

ISMN 979-0-006-56256-5

9 790006 562565

• Based on Gabriel Fauré The Complete Works • Score and orchestral parts in a large format (25.5 x 32.5 cm)

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BA 7895

New Publications 1/2017 · The Programme

Orchestra

With new insights regarding performance practice

Joseph Haydn: Symphony in G major Hob. I: 88 URTEXT Edited by Andreas Friesenhagen Score BA 10980 · € 39.95 Wind set BA 10980-65 · € 29.95 Violin I Violin II Viola Violoncello Double bass

BA 10980-74 BA 10980-75 BA 10980-79 BA 10980-82 BA 10980-85

· · · · ·

€ 5.95 € 5.95 € 5.95 € 5.95 € 5.95

Already published

ISMN 979-0-006-56283-1

9 790006 562831

BA 10980

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BA 10980

© 2010 by G. Henle Verlag, München Bärenreiter-Verlag, Kassel 2017

This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly.

Continuing the collaboration between Bärenreiter and the G. Henle publishing company in large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several Sturm und Drang symphonies and all of the London and Paris symphonies is now available from Bärenreiter.

• Based on the G. Henle Complete Edition of the Works of Joseph Haydn • Orchestral parts in a large format (25.5 cm x 32.5 cm)

Organ

Newly engraved with links to Bach digital In 1985 Christoph Wolff, working at Yale University, discovered a collection of 82 chorales compiled by Johann Gottfried Neumeister (1756-1840) which contained 38 compositions by Johann Sebastian Bach. They reveal great stylistic variety whose forebears stem from the Northern German organ tradition. Already these early works comprising fantasias, fugues, fughettas and imitative techniques employing motifs from chorale melodies bear witness to Bach’s broad compositional spectrum.

This newly published volume is an updated edition of Series IV/9 of the New Bach Edition (NBA), edited by Christoph Wolff and based on this source. In addition to a newly added concordance and corrections to the musical text, it also contains a detailed Foreword by Christoph Wolff with further information on the Neumeister Collection and hymnological details. The source of the complete Neumeister Collection has recently been made available on Bach digital, shedding light on the manuscript for the very first time.

Links to major sources have been provided in collaboration with the Bach Leipzig Archive and its database Bach digital. The desired page of the source can be accessed quickly and conveniently via URLs at http://links.baerenreiter.com. The links stored there are examined for their validity on a regular basis.

Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter’s new performing editions of Bach’s organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to Bach digital.

• Links to relevant sources in Bach digital

Johann Sebastian Bach: Organ Works, Volume 9 Organ Chorales from the Neumeister Collection BÄRENREITER URTEXT Edited by Christoph Wolff Updated edition Foreword (Ger/Eng) Urtext from the New Bach Edition BA 5269 · approx. € 25.95 (replaces BA 5181) To appear in June 2017

• Detailed new Foreword about the Neumeister Collection

by Christoph Wolff (Ger/Eng) • Complete new engraving ISMN 979-0-006-52321-4

9 790006 523214

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Organ

The conclusion of a successful series The ORGAN PLUS ONE series is conceived primarily for semiprofessional church musicians and instrumentalists. It takes its bearings on the music of the liturgical year and can easily be performed in church services, evening recitals or small concerts.

The volumes contain pieces which are freely-composed or based on chorales that are either original works or arrangements by the editor.

Enclosed in each edition are solo parts for C, B-flat, E-flat and F instruments, allowing the pieces to be played by violin, flute, oboe, clarinet, trumpet and horn in F. For use in church worship, the chorale preludes are provided with accompaniments in the keys of the Lutheran hymnal.

ORGAN PLUS ONE Epiphany · Whitsuntide Original works and arrangements for church services and concerts Edited by Carsten Klomp Score with parts BA 8502 · approx. € 18.95

The present volume brings this successful series to its conclusion.

It contains freely-composed pieces by composers such as Edvard Grieg, Eugène Gigout, Théodore Dubois, Charles-Marie Widor and Louis Vierne as well as chorale settings such as Sigfrid Karg-Elert’s Wie schön leuchtet der Morgenstern, Johann Gottfried Walther’s Nun bitten wir den Heiligen Geist, Johann Ludwig Krebs’s Komm, Heiliger Geist, Herre Gott and Karl Hoyer’s Geist des Glaubens, Geist der Stärke.

‘Organ plus One fills a gap in the repertoire. We wish the series a wide circulation and every success.’ (Kirchenmusik im Bistum Mainz)

To appear in March 2017

Already published in the organ plus one series:

ISMN 979-0-006-54067-9

9 790006 540679

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Advent / Christmas Passion / Easter Reformation / Hymns by Martin Luther Death and Eternity / Funeral Service Praise and Thank / Baptism and Wedding Divine Service Communion

BA 8501 BA 8503 BA 8508 BA 8504 BA 8505 BA 8506 BA 8507

€ 18.95 € 18.95 € 24.95 € 18.95 € 18.95 € 18.95 € 18.95

Musikbücher

FELIX COMPLETE MENDELSSOHN LETTERS BARTHOLDY IN 12 VOLUMES Felix Mendelssohn Bartholdy was one of the most important correspondents of the 19th century.

His letters are of high literary quality and seminal importance for understanding the culture of his era.

This complete edition is the first to contain all 5,855 known letters by Mendelssohn Bartholdy.

It presents versions of the letter texts compiled from a scholarly-critical analysis of the sources, discusses their historical context and comments on all points in need of explanation.

Now complete in 12 volumes plus a CD-ROM The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search.

The grand finale of the complete edition Edited by Helmut Loos, Wilhelm Seidel: Felix Mendelssohn Bartholdy Complete Letters (German Text) 12 volumes, approx. 9,500 pp., linen-bound; CD-ROM with pdf files of the printed edition and a complete index.

The concluding Volume 12 and the CD-ROM will appear in June 2017.

Volume 12 ISBN 978-3-7618-2312-5 Subscription price: € 161.00 CD-ROM ISBN 978-3-7618-2403-0 · € 248.00 Available only in combination with a subscription to the printed complete edition The 12 volumes can only be purchased complete.

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Complete editions

New publications up to November 2016 Johann Sebastian Bach New Bach Edition – Revised Volume 4: Six Suites for Violoncello solo BWV 1007-1012 (Parts I and II) Edited by Andrew Talle, synoptic facsimile

by Andrew Talle and Jungeun Elle Kim BA 5942-01 Gabriel Fauré The Complete Works, Series IV, Volume 2: Orchestral Works 2 Shylock op. 57 (Suite d’orchestre), Pelléas et Mélisande op. 80 (Suite d’orchestre), Pénélope (Prélude), Masques et Bergamasques op. 112 (Suite d’orchestre) Edited by Robin Tait BA 9475-01

The Bohuslav Martinů Complete Edition Series IV/4, Volume 1 Chamber Music for 6–9 Instruments I Les Rondes, H 200, Serenade No. 1, H 217, Serenade No. 3, H 218, Stowe Pastorals, H 335, Nonet No. 2, H 374 Edited by Jitka Zichová BA 10574-01 OPERA – Spectrum of European Music Theatre in Separate Editions Volume 2 Annette et Lubin Edited by Andreas Münzmay in collaboration with OPERA BA 8812-01

The Complete Works, Series IV, Volume 3: Works for Solo Instrument and Orchestra Berceuse for Violin and Orchestra op. 16, Ballade for Piano and Orchestra op. 19, Élégie for Violoncello and Orchestra op. 24, Romance for Violin and Orchestra op. 28, Fantaisie for Piano and Orchestra op. 111, Concerto for Violin and Orchestra op. 14 Edited by Peter Jost BA 9465-01 Christoph Willibald Gluck Complete Works Series II, Volume 5: Ballet Music Edited by Irene Brandenburg BA 5814-01

Camille Saint-Saëns Complete Edition of the Instrumental Works Series I, Volume 3 3e Symphonie en ut mineur op. 78 Edited by Michael Stegemann BA 10303-01

L’Opéra français Charles Gounod Faust (Version opéra), 2 volumes Edited by Paul Prévost BA 8713-01 George Frideric Handel Halle Handel Edition Series V, Volume 5a: Tu fedel? tu costante? HWV 171a Edited by John Roberts New Issue Title BA 10716-01

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Heinrich Schütz New Edition of the Complete Works Volume 29: Wedding Compositions Edited by Joshua Rifkin BA 4481-01

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The Authoritative Music Encyclopedia – Now Online

MGG Online is the new digital encyclopedia for music researchers worldwide.

It is based on the second edition of Die Musik in Geschichte und Gegenwart, the authoritative reference work that has supported music scholarship since 1949, and features newly written articles and regular updates.

MGG Online has been developed by Bärenreiter and J. B. Metzler in partnership with Répertoire International de Littérature Musicale (RILM).

Extensive Content Covering All Music Disciplines MGG Online features the content of the second edition of Die Musik in Geschichte und Gegenwart with more than 19,000 articles:

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More than 18,000 biographical articles cover composers, singers, instrumentalists, and theorists. Many of these articles are in the area of jazz and popular music.

There are also articles covering literary figures, ensembles, publishers, librettists, philosophers, musicologists, and stage directors.

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About 1300 subject articles focus on periods, countries, regions, and cities, sources, genres, and instruments. In addition, there are comprehensive articles on institutions (including music libraries), music iconographical subjects, and relationships to the other arts.

MGG‘s unique breadth of scope is illustrated by the inclusion of articles on music as it relates to history, philosophy, law, the natural sciences, and other topics.

Continuously Updated Content Bärenreiter and J. B. Metzler are responsible for the content of MGG Online, ensuring that the encyclopedia remains comprehensive and authoritative.

Hundreds of articles have been revised, updated, or newly written by internationally recognized authorities in their field.

Technologically Advanced Presentation RILM has built a new platform, which searches every corner of MGG Online to identify material relevant to the researcher’s objective. Current features include: ● Sortable lists of works and bibliographies ● Powerful platform with the most advanced search and browse capabilities ● Easy toggling between current and older versions of each article ● Automatic translation from German into over 100 languages via Google Translate integration ● User accounts where annotations can be created, saved, and shared ● Links to related content in RILM Abstracts of Music Literature ● An interface compatible with mobile and tablet devices

Like the content of MGG Online, the platform will be enhanced on an ongoing basis.

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