SKU: BA.BA06843
ISBN 9790006483259. 24 x 32 cm inches. Text Language: Czech, German.
Lehrbuch fur Lehrerausbildung und Mittelschulen. 104 Vokalisen fur eine (gelegentlich auch mehrere) Singstimme/n und Klavier (tschechisch/deutsch).
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: BA.BA09562-01
ISBN 9790260107380. 34 x 27.5 cm inches. Text Language: Czech, English, German. Preface: Zahrádka, JirÃ. Text: BartoÅ¡ová, Fedora.
Janacek's operaOsudis an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges.This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist's copy of authorised by Janacek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of theComplete Critical Edition of the Works of Leos Janacek.* First critical edition of this opera* Foreword on the genesis of the work and its reception by Jiri Zahradka (Cz/Eng/Ger)* New idiomatic piano reduction by Rasmus Baumann* Singable German translation
SKU: BA.BA06863
ISBN 9790260105317. 34.2 x 27 cm inches. Text Language: Church Slavic.
“The Glagolitic Massâ€, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge. This new critical edition presents two different versions of the work in two separate volumes (B/5-I, BA 6862 und B/5-II, BA 6863): the “September 1927†version which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928. This second version was then revised further and published after Janacek’s death by Universal Edition Wien in 1930. Known as the “final authorised version“, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janacek’s regular copyist Václav Sedlacek. The new Barenreiter edition also contains an informative preface (Cz/Eng/Ger/Fr/Ru) as well as detailed critical commentary. The “September 1927†version can be seen more as a supplement and appears without text commentary.
SKU: BA.BA06862
ISBN 9790260105300. 34.2 x 27.3 cm inches. Text Language: Church Slavic.
The Glagolitic Mass, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge.The recently published scholarly-critical edition presents two different versions of the work in two separate volumes: the “September 1927†version (BA 6863) which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928 (BA 6862). This second version was then revised further and published after Janácek’s death by Universal Edition Wien in 1930. Known as the “final authorised versionâ€, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janácek’s regular copyist Václav Sedlácek. The “final authorised version†is the significant version and most suited to performance purposes. The instrumentation is richer, it is more straightforward to rehearse and several important passages are more coherent than in the earlier version. It is the later version that is presented in the vocal score. The Old Church Slavonic text has been prepared by the slavicist Radoslav Vecerka.
SKU: BA.BA06844
ISBN 9790006483266. 34.3 x 27 cm inches. Text Language: Czech, German, English. Translation: Kurt Honolka / Bernard Keeffe. Text: Martin (Pseudonym fur Maximilian Kunert) Kurt.
Kantate fur Mannerchor und Orchester (tschechisch/deutsch/englisch) mit Supplement: Erste Fassung 1911, (tschechisch).
SKU: BA.BA06851
ISBN 9790006496723. 34.3 x 27.3 cm inches.
Over the years Janácek’s uvre has increasingly received the recognition it so richly merits and performances of his works are becoming more and more frequent. This development is, however, offset by a manuscript tradition so disorderly that some of Janácek’s works continue, as before, to be played in versions which are heavily adapted, corrupt or otherwise contrary to the composer’s intentions. Thus, a critical edition of Janácek’s music is indispensable for scholars and performers alike.This edition presents an authentic printed text based on all available sources for each work. In addition to the musical text, each volume also contains a critical report (Czech/German), a rendition of deleted or rejected versions, and a comprehensive appendix of facsimiles.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
SKU: BA.BA06865-01
ISBN 9790260108639. 34.2 x 27.3 cm inches. Text Language: Czech, German, English. Preface: Jiri Zahradka.