Harp Concerto No. 6 in Bb, Op. 4 No. 6 (URTEXT)

SKU: BR.OB-5386-19

ISBN 9790004334591. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

SKU: BR.OB-5386-15

ISBN 9790004334577. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

SKU: BR.PB-5386

ISBN 9790004210772. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

SKU: BR.OB-5386-30

ISBN 9790004334614. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

SKU: BR.OB-5386-16

ISBN 9790004334584. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

SKU: TM.00227SET

Ed. by Best, Gudger. Score, Solo = Barenreiter; Set = Barenreiter Reprint. Cello/Bass. See #13814 for Harp Concerto version.

SKU: TM.13814SET

Sol (no pf). Ed. by Best, Gudger. Score = Barenreiter; Set = Barenreiter Reprint. This organ part is part of the continuo and not the organ solo. Cello/Bass. See #00227 for Organ Concerto version.

SKU: HL.51487451

UPC: 196288158110. 6.75x9.5x0.294 inches.

Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrte xt edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: BR.OB-15143-16

ISBN 9790004342015. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.OB-15143-19

ISBN 9790004342022. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.OB-15143-30

ISBN 9790004342046. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.OB-15143-26

ISBN 9790004342039. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.PB-15144-07

In Cooperation with G. Henle Verlag

ISBN 9790004215968. 6.5 x 9 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.PB-15144

ISBN 9790004215968. 6.5 x 9 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: BR.OB-15143-15

ISBN 9790004342008. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).