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Incantation. Concerto for Piano & Orch. No.4 H358 : Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366

Martinu Concertos for Solo Instruments (Full Score, hardback) The fourth piano concerto of Bohuslav Martinu, Incantation (1955–1956), uses an uncommon two-movement structure. It was written for the composer’s friend RudolfFirkusny, who would perform the work from his manuscript copy until 1970, when the concerto received its first edition. Fantasia concertante. Concerto for Piano and Orchestra in B-flat (1957–1958) came about on the impetus of theSwiss pianist Margrit Weber: it is Martin ’s very last concert piece. Unlike Incantation, the composer took part in the publication of the work. This volume of The Bohuslav Martinu Complete Edition draws from the autographsand from period copies with Martinu’s direct interventions. The edition also unveils a number of previously unknown details about the genesis of the works. - The Bohuslav Martinu Complete Edition III/1/5 - Firstscholarly-critical edition - Foreword and Critical Report in English and Czech - New findings about the genesis of the works and the circumstances of their first publication - Assessment of early performance practice

SEK 3909.00

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Motets and Hymns

Faure Motets and Hymns / Messe de l'Association des pêcheurs de Villerville N 60a / Messe basse N 163 / Christmas Song Arrangements This volume of Gabriel Fauré's sacred music is divided into three parts: besides the motets and hymns (17 works), it contains the two well-known harmonisations of French Christmas carols and the two masses, the “Messe basse” (Low mass) of 1907 and the “Messe de l'association des pêcheurs de Villerville”. Also published for the first time is the original 1881 version of the “Messe de pêcheurs”. The genesis of the “Messe de l'association des pêcheurs”, which was composed in Villerville (Normandy) in collaboration with Fauré’s friend André Messager, is the central theme of the introductory text. In addition, Helga Schauerte-Maubouet focuses on the relationship between the characteristics of the choir organ at the church of La Madeleine as well as the composition and performance practice aspects of the motets. A first in this edition is the inclusion of the double bass part in the scores of some of these works. Although this part does not consequently appear in the musical text of the first editions of these motets, it is substantiated by the autographs from the Madeleine church archives. Its integration makes it possible to restore the practice that was common in this church during Fauré’s lifetime. By means of many other details, the new readings of the complete edition finally offer a reliable musical text of jewels such as the “Cantique de Jean Racine”. Urtext edition from the Gabriel Fauré. Œuvres complètes I/4

SEK 2838.00

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Die Entführung Aus Dem Serail : German singspiel in three acts

“I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a newpath. [...] I think it would be a good thing for me provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him.”Thus Mozart in a letter of 1011 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meonany other terms, then let him try me with an opera. After that he can do what he likes for all I care.”Urtext of the New Mozart EditionFull score (BA4591-01), vocal score (BA4591-90) and studyscore format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)

SEK 3867.00

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My Ladye Nevells Booke : Facsimile British Library MS Mus. 1591

One of the finest music manuscripts – for scholarly and practical useMy Ladye Nevells Booke is one of the finest musical manuscripts of the late 16th century. With its 42 compositions, itcomprises about a third of the keyboard music by William Byrd – including some of his most popular compositions such as the variations on “Sellinger’s Round” and “All in a Garden Green”.Byrd himself selected the pieces for this anthology and directed the work of copyist John Baldwin. The meticulous, small corrections, found on almost every page, were most probably written by Byrd himself. Thegrandcoat-of-arms at the beginning refers to Sir Henry Neville of Billingbear (Berkshire) and as such identifies his wife Elizabeth as the dedicatee.The manuscript did not become public property until 2006 when it waspurchased for the British Library. Now it is published in book form for the first time and gives the musician an impression of the richly decorated preserved original volume.In his commentary, Byrd specialist OliverNeighbour describes the genesis and history of the work. He also provides information on Byrd’s concept, the chosen repertoire and gives technical details on the notation.

SEK 2732.00

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Medea [Linen Score + USB] : A Melodrama Interspersed With Music

Georg Anton Benda‘s melodrama „Medea“ (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda’s „Medea“ was at the center of many heated debates.

SEK 2806.00

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Requiem K.626

Requiem K.626 The Requiem, completed by Franz Xaver Süssmayr, in its traditional form. Mozart’s final work, the Requiem K.626, was left incomplete and it is fraughtwith questions and emotions: the expressive depth of its music, sorrow at the great composer’s early death, truth and legend, fragments and attempts to complete the work. The completion of the fragmentary score by hisassistant Franz Xaver Süssmayr, who helped him with The Magic Flute, has the character of a historical source with utmost closeness to Mozart’s thoughts. - Urtext of the NewMozartEdition - Full score (BA4538-01), performance material (BA4538), vocal score (BA4538-90) and study score format 22.5 x 16.5cm (TP152) available for sale - Facsimile edition BVK2346

SEK 2212.00

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Field Mass H 279 : The Spectre's Bride H 214 I A

The present volume of the Bohuslav Martinu Complete Edition (BMCE) contains two vocal-instrumental works. The “Field Mass” (1939) with a text by Jirí Mucha incorporating bible and liturgy quotes was created in reaction to the outbreak of the Second World War and intended for outdoor performances. The cantata “The Spectre’s Bride” with a text by Karel Jaromír Erben was composed in 1932 as part of the ballet “Špalícek” (meaning “chapbook”): the composer later took out the cantata, making it into a stand-alone concert piece.The autograph scores served as primary sources for both works. The edition of the “Field Mass” (including its performance materials) also contains theoriginal version of the ending with a quote from the Czech medieval hymn “Jezu Kriste, štedry kneže” (“Jesu Christ, bountiful priest”) and a number of contemporary translations.

SEK 3379.00

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Works For Male Choir - Equal Voices : Volume 2

With only one exception, Gade composed his works for male choir with accompaniment for Danish choral societies, numerous of which had been founded across the country since 1839. These societies were often closely connected with professional associations, making them equally important for musical and social matters.This volume contains five occasional works for male choir with accompaniment that were composed between around 1838 and 1883. Three of them were intended for church usage (two funerals and one wedding).Among the works for equal voices and accompaniment in this volume, “Aarstidsbilleder” op. 51 is the longest. It was composed for the women of The MusicSociety in Copenhagen and conducted by Gade himself during the 1871/72 seasons.The appendix contains works that were completed, but do not allow for definitive decisions regarding their final presentation.

SEK 4959.00

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Idomeneo K.366 with Ballet K.367 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas.Mozart's sevengreat operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression.Now Mozart scholars, libraries and lover's of Mozart's stage workshave the oppertunity to acquire these priceless manuscripts in flawless reproductions.All volumes include essays on the history of the work and introduction by leading Mozart scholars in EnglishandGermanConsolidation of Mozart manuscripts held in different placesHighest level of precision in reproduction and authenticity of colour through use of the latest technology'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristic appearance of Mozart's handwriting are unique' - Kent Nagano (Conductor)

SEK 2933.00

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Die Entfuhrung aus dem Seail K.384 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique' - Kent Nagano (Conductor)

SEK 2933.00

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Le nozze di Figaro K.492 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique' - Kent Nagano (Conductor)

SEK 2933.00

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Cosi fan tutte K.588 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique' - Kent Nagano (Conductor)

SEK 2933.00

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Responsoria et alia : ad Officium Hebdomadæ Sanctæ spectantia

Carlo Gesualdo‘s “Responsoria” were printed in 1611, the same year as the last two of his madrigal books. Despite having received little attention at the time and during the following centuries, this collection can be regarded as part of the composer’s spiritual heritage in many respects. It was to become a central part of his oeuvre.The edition contains 27 responsories, nine each for Maundy Thursday, Good Friday and Holy Saturday, divided into three nocturnes for each respective day: and two compositions for the Lauds of Holy Week, “Benedictus” and “Miserere” (Psalm 50). The Foreword discusses the editorial approach and offers a description as well as an evaluation of thepreserved partbooks. Based on detailed coverage of how the selected texts relate to the liturgy, as well as the six-part structure of the pieces and other musical principles, conclusions could be drawn regarding the nature and character of the assembled compositions.The Critical Commentary records all readings of handed down copies, elaborating particularly on the use of accidentals. Carlo Gesualdo‘s “Responsoria” were printed in 1611, the same year as the last two of his madrigal books. Despite having received little attention at the time and during the following centuries, this collection can be regarded as part of the composer’s spiritual heritage in many respects. It was to become a central part of his oeuvre.The edition contains 27 responsories, nine each for Maundy Thursday, Good Friday and Holy Saturday, divided into three nocturnes for each respective day: and two compositions for the Lauds of Holy Week, “Benedictus” and “Miserere” (Psalm 50). The Foreword discusses the editorial approach and offers a description as well as an evaluation of thepreserved partbooks. Based on detailed coverage of how the selected texts relate to the liturgy, as well as the six-part structure of the pieces and other musical principles, conclusions could be drawn regarding the nature and character of the assembled compositions.The Critical Commentary records all readings of handed down copies, elaborating particularly on the use of accidentals.

SEK 4259.00

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Complete Organ Works I-X

Louis Vierne (1870 1937) brought symphonic French organ music to its stylistic climax. Besides being a productive composer, he also gained a reputation as a brilliant improviser at his place of employment, the Notre DameCathedral in Paris, and throughout the world.In 1928 Vierne, one of the best-known organists of his day, made one of the earliest organ recordings, playing Bach works and his own improvisations in Notre Dame.Thisscholarly practical edition is based on the critical examination and evaluation of all the autographs, engravers’ copies and first prints available, as well as on his writings and previously unpublished letters. It endeavourstobe philologically consistent in solving the editorial problems which have surfaced.The edition includes all Vierne's works, those published during his lifetime, those previously unpublished and those attributed tohim.- New source material incorporated- Extensive trilingual Foreword (Fr/Eng/Ger) with detailed notes on performance practice- Comprehensive Critical Commentary (Fr/Eng/Ger)- Illustrations andfacsimiles

SEK 4026.00

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Symphony No.3 In C Minor Op.78

“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. Inthis 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.3marksthe 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 Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

SEK 2467.00

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Symphony No.3 In C Minor Op.78 - Organ

“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. Inthis 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.3marksthe 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 Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts ina large format (25.5 cm x 32.5 cm)

SEK 4503.00

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Messe de Requiem : Op. 48

The “Messe de Requiem” is probably the internationally best-known and most frequently performed work by Gabriel Fauré. The composer’s first version was limited to just five movements and small-scaleforces with low Strings, Harp and Organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition.Despite its comparativelylong period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with gracefulmelodicwriting for both soloists and Choir give the work a gentle and optimistic character.The Vocal score is based on the volume of the “ Complete Works of Gabriel Fauré ” (BA 9461) published in 2010. It isimportant to note that this vocal score is also compatible with the first small-scale version as well as the second chamber orchestra version.High-quality Urtext edition based on the “ Complete works of Gabriel Fauré”First systematic evaluation of all sourcesBased on the large orchestral version of 1900Informative Foreword (Ger/Eng)Vocal score suitable for all versions of theRequiem

SEK 4333.00

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Pagliacci : Masterpieces of Italian Opera

The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.The verismo opera Pagliacci by Ruggero Leoncavallo is the first work in Bärenreiter's new series “Masterpieces of Italian Opera” (MIO). Pagliacci, which was Leoncavallo's most successful work, has remained an integral part of opera literature up until today. The role of Canio the tragic clown helped many singers achieve successful performances and iconic interpretations.The new edition of Pagliacci, edited by Andreas Giger, is the first to follow clear editorial guidelines, documenting all amendments of the musical text in a Critical Commentary. It presents the opera in two versions, both of which were regarded as complete in their time: The version Leoncavallo presented to the Italian publisher Sonzogno (one act, without Prologue and Intermezzo) and the “final version” (two acts with Prologue and Intermezzo), the conception of which was influenced by Victor Maurel, Sonzogno, as well as the experiences collected during the first series of performances. The new edition follows the autograph score of the composer as closely as current opera practice allows, correcting erroneous pitches, adjusting articulation markings, slurs, and offering dynamic marks that were not included in previous editions. Additionally, instrumentation issues have been addressed.There are several secondary sources for Pagliacci that offer a substantial amount of performance suggestions, not all of which can be attributed to Leoncavallo with certainty. While previous editions mostly include these instructions, they have only been adapted into this edition as demanded by musical logic, in cases where they can be attributed to the composer with certainty, and based on practical value (such as metronome markings or puntature). In all cases, they have been offset typographically from autograph markings. An important secondary source, namely a copy of the first printed score, contains corrections in the composer's hand. Bärenreiter's new edition is the first to offer this valuable information to performers and scholars.The libretto for Pagliacci was written by Leoncavallo himself. Regarding vocal text and stage directions, the new edition follows the autograph as well as secondary sources authorized by Leoncavallo. As a result of clearly stated editorial guidelines and their execution, this new edition of Pagliacci offers a consistent score that closely follows Leoncavallo's intentions.

SEK 5023.00

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Incantation. Concerto for Piano & Orch. No.4 H358 : Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366

Motets and Hymns

Die Entführung Aus Dem Serail : German singspiel in three acts

My Ladye Nevells Booke : Facsimile British Library MS Mus. 1591

Medea [Linen Score + USB] : A Melodrama Interspersed With Music

Requiem K.626

Field Mass H 279 : The Spectre's Bride H 214 I A

Works For Male Choir - Equal Voices : Volume 2

Idomeneo K.366 with Ballet K.367 : Facsimile of Mozarts autograph score

Die Entfuhrung aus dem Seail K.384 : Facsimile of Mozarts autograph score

Le nozze di Figaro K.492 : Facsimile of Mozarts autograph score

Cosi fan tutte K.588 : Facsimile of Mozarts autograph score

Responsoria et alia : ad Officium Hebdomadæ Sanctæ spectantia

Complete Organ Works I-X

Symphony No.3 In C Minor Op.78

Symphony No.3 In C Minor Op.78 - Organ

Messe de Requiem : Op. 48

Pagliacci : Masterpieces of Italian Opera

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