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Bagatelles Op.47 For Piano Quartet

Dvorak was working on his first series of Slavonic Dances when it was requested that he write a piece for a private circle of chamber enthusiasts, musician friends with whom the composer occasionally performed as violist or harmonium player. Over thecourse of a few days in May 1878 he produced a quartet for two violins, cello and harmonium, originally entitled Malickosti (Bagatelles); the printed version later introduced the title Bagatelles. Although the themes are less complicated and fewerdemands are made on the players, this cannot be described as music "in a simpler style". The score and parts, published as part of the first Complete Critical Edition of Works by Antonin Dvorak, were edited for publication by Frantisek Bartos.

SEK 281.00

1

Petite Messe Solennelle

The “Petite Messe solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received itsfirst performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scalesacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass tooheavily in later arrangements.

SEK 152.00

1

Sonate (1905)

Usually referred to as a sonata, 1. X. 1905 is Janacek’s most significant piece for the Piano.The work had a tumultuous history. It originally consisted of three movements inspired by the deathof a Czech labourer shot by soldiers during a demonstration in Brno. Shortly after its première in 1906 Janacek destroyed the final movement and then, following a private performance in Prague, the other two movements aswell. It was not until the celebrations for his 70th birthday that the pianist of the première found the courage to play the piece to the composer once again from her personal copy. Janacek then decided to publish theworkafter all.The musical text is based on the Complete Scholarly-Critical Edition of the Works of Leos Janacek and has been given practical fingering suggestions.- Detailed new preface by Jiri Zahradka (Czech , Eng.,Ger.).- Tried and tested fingerings.- Bärenreiter Urtext at the forefront of Janacek scholarship.

SEK 181.00

1

Leichte Klavierstücke und Tänze

Bartók’s voluminous output for the piano contains a great many exquisite masterpieces at every level of difficulty. This collection gathers together easy to moderately difficult pieces, including a wide variety of dance formsand folk-music miniatures. Players can coax magical sounds from the instrument using a varied refinement of touch such as silently depressed keys or can even play in two keys at once (bitonality). In addition, all of thisprovides a stimulus for improvisation.This collection is a welcome addition to the repertoire used in music schools and private lessons and will, of course, appeal to all lovers of Bartók’s music. Besides familiar works,italso contains several that have never before been edited. Two pieces handed down as fragments have been judiciously completed by the editor. Care has been taken to provide a spacious engraving and practical pageturns.Easy to moderately difficult pieces with fingeringIdeal for teaching purposesSeveral pieces edited for the first timeSpacious engraving with practical page turns

SEK 213.00

1

String Trio No.1 H.136

The fate of Bohuslav Martinu's String Trio no.1, which dates from the turn of 1923 and 1924 and was lost until 2005, is somewhat remarkable. The trio is the first work which Martinu created in Paris after becomingthe private pupil of Albert Roussel and was probably performed twice in Paris during 1924. It had its Czech premiere in February 1925 and Martinu requested his friend S. Novak to make sure that they didn't lose the scores of thethings they played, because he did not have any sketches or copies.Precisely that which Martinu feared then occurred - the sole existing version of the trio was lost; it was not until the autumn of 2005 that theautographof the trio (the score and parts for the viola and cello - the violin part is still missing) was found at the Danish Royal Library in Copenhagen thanks to the searches of the Bohuslav Martinu Institute and it is afterthis autograph that this edition has arisen.

SEK 303.00

1

Petite Messe solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate 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.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

SEK 749.00

1

Petite Messe solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate 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.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

SEK 377.00

1

Petite Messe solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate 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.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

SEK 340.00

1

Petite Messe Solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate 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.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

SEK 228.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 154.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 154.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 154.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 1544.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 154.00

1

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

SEK 154.00

1

Christmas for female voices

After the success of 'Christmas a cappella' (BA 7573) for mixed choir, Graham Buckland has now turned his attention to an edition for female voices. This collection includes popular Christmas melodies in traditional as well asmore popular settings from many countries around the world including USA, UK, France, Germany, Austria, Poland and the Czech Republic. All pieces are arranged for two female voice parts with a piano accompaniment but athird optional voice part is also included in many cases. This edition presents one of the most comprehensive collections of Christmas choral settings for female voices.Collection of international Christmas songsforfemale voicesFor two to three parts with piano accompanimentTraditional as well as more popular settingsAll song texts in German and English A selection:A child this day is born /Adeste, fideles / Angels, from the realm of glory /A virgin most pure / Away in a manger / Deck the hall! / Entre le bœuf et l’ ne gris / Es ist ein Ros entsprungen /Fröhliche Weihnacht überall! / Go, tell it on the mountain / Isaw three ships / Joy to the world / Les anges dans nos campagnes /Macht hoch die Tür / Nun komm, der Heiden Heiland /O Heiland reiß die Himmel auf / O Jesulein süß / Orientis partibus / Quando nascette Ninno / Stern überBethlehem /The angel Gabriel from heaven came / The Carol of the Drum /The first Nowell / We wish you a merry Christmas /Wie schön leuchtet der MorgensternThe editorGraham Buckland is a conductor and composer andstudied in Cambridge, London and Brno. He is now university music director in Regensburg.

SEK 324.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 128.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 128.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 1480.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 128.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 128.00

1

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

SEK 133.00

1

Märke

Butik

Pris (EUR)

Bagatelles Op.47 For Piano Quartet

Petite Messe Solennelle

Sonate (1905)

Leichte Klavierstücke und Tänze

String Trio No.1 H.136

Petite Messe solennelle

Petite Messe solennelle

Petite Messe solennelle

Petite Messe Solennelle

La Mer : Trois Esquisses Symphoniques

La Mer : Trois Esquisses Symphoniques

La Mer : Trois Esquisses Symphoniques

La Mer : Trois Esquisses Symphoniques

La Mer : Trois Esquisses Symphoniques

La Mer : Trois Esquisses Symphoniques

Christmas for female voices

Concerto : for the Left Hand for Piano and Orchestra

Concerto : for the Left Hand for Piano and Orchestra

Concerto : for the Left Hand for Piano and Orchestra

Concerto : for the Left Hand for Piano and Orchestra

Concerto : for the Left Hand for Piano and Orchestra

Concerto : for the Left Hand for Piano and Orchestra

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