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SKU: BA.BA05062-01
ISBN 9790006463022. 33 x 26.3 cm inches.
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.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.BA11305
ISBN 9790006567027. 31 x 24.3 cm inches. Text Language: Latin. Preface: Stahl, Christina M.
Psalm 137 Super flumina Babylonis also known as By the rivers of Babylon was an inspiration for many composers including Camille Saint-Saëns. He repeatedly occupied himself with his psalm motet for solo soprano, mixed choir, saxophone quartet, string orchestra and organ, originally composed in 1854. Two of the four versions â?? the first version in Latin and a much later version in English for alto solo, SATB choir and piano â?? are now available for the first time in Urtext performing editions taking a meticulous account of all the sources.Saint-Saëns lived up to his reputation as an innovative composer by exploring the use of the saxophone family in sacred music just a few years after the invention of these instruments. The successful combination of voice and saxophone creates a special sound experience.
SKU: HL.48186489
UPC: 888680832667. 6.75x9.75 inches.
“AL 30 757 ' French Music for Mixed Choir Those who love choral singing often lament not knowing how to go about finding, among the heaps of scores written for multiple singers, the rare gem whose discovery would intensify the enjoyment of singing together. What unknown treasure might bring a programme the touch of originality that makes it stand out? As the fruit of long and hard research on the subject, this anthology of French pieces for choir is one we hope will go down in history. The first section is made up of original works written for choral ensemble: Gabriel Fauré's Op. 35 Madrigal exhales a melancholy sensuality that is shared to some degree by Reynaldo Hahn's Rondels ' and within this Renaissance pastiche lies a real masterpiece, 'Gardez le trait de la fenêtre'. Le Ballet des ombres, written by a young Berlioz, drinks from the whimsical source of Romanticism (Herder). The second section assembles choral transcriptions of melodies ' such as Beau soir by Debussy and Deux Prières by Milhaud ' along with excellent arrangements like 'Choral inappétissant' extracted from Satie's piano in Sports et divertissements. A treasure trove of pure delight.&rdquo.
SKU: BA.BA09188-91
ISBN 9790006565139. 27 x 19 cm inches. Key: C minor. Text Language: Latin.
Mozart's magnificent unfinishedGreat Mass in C minor K. 427is impressive not only for its monumentality and musical beauty but for its fragmentary state which has fascinated scholars and performers for decades.Working together with the International Mozarteum Foundation in Salzburg, Barenreiter now presents a new edition of this work, reflecting the cutting edge of scholarship while doing justice to the needs of performers.High scholarly standards, the completion and reconstruction of movements: this pioneering publication incorporates all this in order to come as close as possible to the work itself:- TheKyrieandGloria, both of which survive complete in Mozart's hand, are edited in accordance with scholarly standards.- The first two sections of theCredohave been meticulously completed by the editor Ulrich Leisinger, drawing on original Mozart compositions e.g. the ariaDeh vieni non tardarfromThe Marriage of Figaroand paying attention to a stylistically appropriate and transparent sound.- TheSanctusandBenedictus(with theHosanna), which are either incomplete or survive only in secondary sources, have been reconstructed by the editor.Sections without any known sources are left out in this edition. Rounding off the publication is an extensive Foreword (Ger/Eng).The first performance of Ulrich Leisinger's new edition was given in April 2019 in the Elbphilharmonie Hamburg by the Hamburg State Philharmonic Orchestra and the ChorWerk Ruhr under the baton of Kent Nagano. The first Austrian premiere took place in Salzburg on August 2019 in the Great Hall of the Mozarteum, with Andrew Manze conducting the Salzburg Camerata to rousing applause from audience and critics alike.The C-minor Mass reconstruction by Helmut Eder on the basis of the New Mozart Edition (BA 4846) is still available: the score and performance material are on hire, the vocal score is on sale.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: PE.EP73500
ISBN 9790577020464. 272 x 190mm inches. English.
What better way for choirs to celebrate Beethoven's 250th birthday than with this entertaining medley of some of his greatest hits (Fur Elise, Moonlight Sonata, Pathetique Sonata, and Fifth and Ninth Symphonies), cleverly arranged by Jim Clements?
The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble's ethos, and this is shown in their versatile concert programmes and innovative educational work.
The 'VOCES8 singles' series includes songs for which the group is particularly well known, in choral arrangements produced specifically for VOCES8.
SKU: HL.48025272
ISBN 9781784548285. UPC: 196288154792. 7.25x10.25x0.042 inches.
Do not neglect is a stand-alone movement from Kim André Arnesen's large-scale work, The Stranger, which uses a thought-provoking text from chapter 13 of the Epistle to the Hebrews: “Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it.â€. The text is short, but really worth reflecting on what it means to us, and it is this internal reflection that is portrayed in this beautiful, solemn and largely homophonic setting. This setting is written for choir and cello, one of the composer's favourite combinations, but it may also be performed a cappella. The extracted cello part is included in the vocal score.
SKU: HL.49043945
ISBN 9790220133503. 8.25x12.0x0.3 inches. English.
Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London.I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland)Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in.Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love.The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation.Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen.At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. Paul Hillier, 2012.
SKU: BA.BA10558
ISBN 9790006553075. 33 x 26 cm inches. Language: German. Preface: Hirschmann, Wolfgang / Paech, Katharina Larissa / Röder, Thomas.
The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbel’s arias, vocal concerti and large-scale Magnificats have received little attention up to now. Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbel’s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach. The Critical Edition The edition aims to make available all of Johann Pachelbel’s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz. Two volumes per year are planned. As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbel’s authorship is doubtful appear at the end of the respective group. Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
SKU: BA.BA05953-01
ISBN 9790006497652. 27.7 x 19.6 cm inches. Language: German. Preface: Varwig, Bettina.
In volume 1 of the New Schutz Edition Friedrich Schoneich presented the Historia der Geburt Jesu Christi. He had to accept that one source was considered lost. The volume was published in 1955 and, of course, Schoneich edited it within the framework of the musicological standards of his time.For her new edition, Bettina Varwig has now been able to take all known sources into account including the first print, copies of parts of the work which have come down to us in the Duben Collection, as well as the score copy from the music archive of the Berlin Sing-Akademie, which had been known only from fragmentary copies until it had been returned from Kiew. This enables a fresh view of the Historia on how it presumably was performed. The edition maintains the original note values and generally follows the editorial principles of the New Edition of the Complete Works.The Introduction centrally deals with the question how the Historia was performed at Christmas 1660 in the Dresden Schlosskirche and how it can be realised today. Also the scoring for singers and instruments (Evangelist movements versus concertante movements) is being appropriately discussed. Three appendices enable a greater understanding of the source traditions of the work which are documented in detail in the Critical Commentary and whose readings are critically examined there.Replaces BA1709.
SKU: CA.1040221
ISBN 9790007311223. Key: F sharp minor. French. Text: Montesquiou-Fezenzac, Robert de.
Gabriel Fauré’s Pavane is one of his most popular compositions. What is less known, however, is that the premiere of this stylized dance in April 1888 was actually performed in this present version for mixed choir rather than in the now more familiar orchestral version or instrumental arrangeÂments. The text, in the style of Verlaine, sketches the carefree society of the Belle Époque, in particular the various flirtations and dalliances of the dancers. Based on Fauré’s autograph score, this new Carus edition reflects the original (faster) tempo marking. In addition to the composer’s revised piano reduction, Carus is also publishing a modern version for choir and four hands (Carus 10.402/10). Score and part available separately - see item CA.1040200.
SKU: CA.1040211
ISBN 9790007311230. Key: F sharp minor. French. Text: Montesquiou-Fezenzac, Robert de.
SKU: BA.BA05624-05
ISBN 9790006472291. 30 x 23 cm inches. Key: F major.
The period over which the Mass in F major was written can be followed step by step by virtue of Schubert himself having written dates in the autograph score (Schubert wrote the work with a few interruptions between May and July 1814), and what prompted him to compose it is only too well known - the centenary of the Lichtental parish church -, but the day it was first performed was not clear for quite some time.
SKU: CA.1040213
ISBN 9790007311254. Key: F sharp minor. French. Text: Montesquiou-Fezenzac, Robert de.
SKU: BA.BA10557
ISBN 9790006553068. 33 x 25.8 cm inches. Language: German.
The Complete Vocal Works Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbelâ??s arias, vocal concerti and large-scale Magnificats have received little attention up to now. Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbelâ??s manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach. The Critical Edition The edition aims to make available all of Johann Pachelbelâ??s surviving vocal works in the best possible form. It is edited by the Institut für Musikwissenschaft at the University of Erlangen-Nuremberg and the Institut für Kirchenmusik at the Kunstuniversität Graz. Two volumes per year are planned. As a chronological order is not possible in many cases, the individual works have been arranged according to scoring within their groups. Fragments and works where Johann Pachelbelâ??s authorship is doubtful appear at the end of the respective group. Each volume includes an introduction (Ger/Eng) and a Critical Commentary (Ger). Format 25.5 x 32.5 cm; cloth-bound
