SKU: CA.265300
ISBN 9790007165628.
The collection includes 19 opera choruses by Wolfgang Amadeus Mozart and Joseph Haydn, arranged for choir with piano accompaniment. The most beautiful choruses from the most popular of Mozart's operas are published in one volume, together with opera choruses by Joseph Haydn. While since they were first composed it would be difficult to imagine the opera repertoire without most of Mozart's operas, in the case of Haydn there are still unknown treasures waiting to see the light of day. But even among Mozart's works it is still possible to make new discoveries. All of the choruses in this varied collection of both known and unknown works by these two great masters contain piano accompaniments and the original singing texts, as well as German translations (where applicable). The piece for four-part mixed choir range from easy to mid-level difficulty. A supplementary economical edition for choir (editionchor, without piano accompaniment) has also been published. All the choruses in this colorful mixture of well known and unknown by the two great masters have piano accompaniment and the original text, as well as German singing translations (where applicable).
SKU: BT.DOW-07502-400
9x12 inches. International.
Wolfgang Amadeus Mozart (1756-1791): AllegrettoLudwig van Beethoven (1770-1827): AndantinoJean-Baptiste Lully (1632-1687): ModeratoTraditional: VivoJoseph Haydn (1732-1809): ModeratoTraditional: Down in the ValleyJohann Strauss (1825-1899): Theme from Roses from the SouthHenry Purcell (1659-1695): From the Opera King ArthurWolfgang Amadeus Mozart (1756-1791): AllegrettoWolfgang Amadeus Mozart (1756-1791): AndantinoRobert Schumann (1810-1856): MelodieSpiritual: When the Saints Go Marching in.
SKU: HL.51485762
ISBN 9790201857626. UPC: 888680602239. 10x13 inches.
SKU: HL.51485761
ISBN 9790201857619. UPC: 888680621100. 10x13 inches.
SKU: HL.49018355
ISBN 9783795793463. 10.25x13.25x1.4 inches. German - English.
Contents: Einlagen zum Pasticcio Der Freybrief von Joseph Haydn u. a., No. 5: Rondo alla Polacca fur Tenor (WeV D.1/1), No. 2: Duetto fur Sopran und Tenor (WeV D.1/2) * Szene und Arie fur Sopran zu Mehuls Helena Ha! Sollte Edmund selbst * La, o la ihn Rettung finden (WeV D.2) * Einlagen zu Karl Ludwig Gieseckes Der travestirte Aeneas, No. 3: Lied fur Bariton (WeV D.3/1), No. 11: Duett fur Sopran und Bariotn (WeV D.3/2) * Lied fur Sopran zu Ferdinand Kauers Sternenmadchen im Maidlinger Walde (WeV D.5) * Szene und Arie fur Sopran zu Cherubinis Lodoiska Was sag ich? * Fern von ihm (WeV D.7) * Huldigungs-Einlage fur Sopran und Bass zu Spontinis Olimpia (WeV D.8) * Rezitativ und Rondo fur Sopran Il momento s'avvicina * La dolce speranza (WeV E.1) * Duett fur zwei Altstimmen Se il mio ben (WeV E.2a) * Szene und Arie der Atalia Misera me * Ho spavento d'ogn'aura (WeV E.3) * Szene und Arie aus Demetrio fur Tenor und Mannerchor Qual'altro attendi * Giusti Numi! (WeV E.4) * Szene und Arie aus Ines de Castro fur Tenor Signor, se padre sei * Chiamami ancor spietato (WeV E.5) * Szene und Arie aus Ines de Castro fur Sopran Non paventar, miavita! * Sei tu sempre (WeV E.6).
SKU: HL.49018356
ISBN 9783795793470. 10.25x13.25x1.08 inches. German - English.
SKU: HL.50487132
ISBN 9790080123492. B/5 (17x24) inches. Hungarian, Italian. Joseph Franz Haydn; Istvan Raics; Oliver Nagy.
SKU: HL.51485612
ISBN 9790201856124. UPC: 884088182496. 10x13 inches.
SKU: HL.51485631
ISBN 9790201856315. UPC: 884088182557. 10x12.75 inches. Ed. Gunter Thomas/figured bass realization. Karl Geiringer.
SKU: HL.51485632
ISBN 9790201856322. UPC: 884088182564. 10x13 inches. Ed. Gunter Thomas/figured bass realization. Karl Geiringer.
SKU: TM.08740SET
A.k.a. Windsor Castle Overture. Ed. by Landon.
SKU: TM.08740SC
SKU: BA.BA10988
ISBN 9790006574933. 31 x 24.3 cm inches. Key: E minor.
Associating the term “Sturm und Drang†with Haydn’s creative period from ca. 1765 to ca. 1772 is considered controversial among scholars, but it does describe a unique group of works within his symphonies: works characterised by an impetuous, colourful tonal language, featuring minor keys prominently, with rapid tempo sequences and effects taken from contemporary opera such as tremolos and recitatives.The Symphony in E minor Hob. I:44 was composed towards the end of this creative period and certainly showcases the “Sturm und Drang†dramatic style with its resolute unison main theme in the opening movement, a sustained dance and sensitive slow movement as well as a Presto finale. The work received the nickname “Mourning†Symphony in recent reception history because of its melancholic character and the anecdote that Haydn chose the third movement (Adagio) as his funeral music.Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).