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| Suk Josef - Meditation On The Old Czech Hymn St Wenceslas Op.35a - Conducteur Orchestre [Conducteur] Barenreiter
Suk, Josef Meditation on the Old Czech Hymn St Wenceslas for String Quartet op. 35a Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian 'St. Wenceslas' hymn. The hymn's message ' …
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| Feuerwerksmusik (HAENDEL GEORG FRIEDRICH) Partition de Poche [Partition] Barenreiter
Par HAENDEL GEORG FRIEDRICH. The conductor and Keyboard player Christopher Hogwood has edited the new edition of Music For The Royal Fireworks. The edition is the result of thorough revision and correction based on the source material. During this process, some incorrect notes were corrected, and in particular, the Viola part was revised. Misunderstood instructions from Handel relating to the coll…
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| Orgelwerke Band I/1 (BUXTEHUDE DIETERICH) Orgue [Partition]
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the…
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| Konzertante Werke Op. 32 Wev N.15 (WEBER CARL MARIA VON) Piano et Orchestre Schott
Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad a…
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| Gaelic Suite (FITZGERALD) Quintette à cordes: 2 violons, alto, violoncelle, basse Barenreiter
Dvorák's 'String Quintet in G major? op. 77, had five movements when it was premiered on 18 March 1876. Its second movement was the 'Intermezzo? from his 'String Quartet in E minor? (1870). Later Dvorák removed this movement from the quintet, expanded it, and published it as a separate 'Notturno? for string orchestra op. 40. The 'Intermezzo? is included in its original version in the appendix of t…
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| STRING QUARTET NO. 2 OP. 17 (BARTOK BELA) (BARTOK BELA) Quatuor à cordes: 2 violons, alto, violoncelle [Partition] G. Henle
Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several long interruptions ? between 1915 and 1918, after he had spent several years almost solely devoted to collecting folk music. The melody and rhythms of the riotous middle movement ?Allegro, molto capriccioso? provide impressive testimony of how his research trips had taken him as far as North Africa. The first edition of th…
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| Streichquintett G-Dur Op. 77 (DVORAK ANTONIN) Quatuor à cordes: 2 violons, alto, violoncelle [Partition] Barenreiter
Par DVORAK ANTONIN. Dvorák's 'String Quintet in G major” op. 77, had five movements when it was premiered on 18 March 1876. Its second movement was the 'Intermezzo” from his 'String Quartet in E minor” (1870). Later Dvorák removed this movement from the quintet, expanded it, and published it as a separate 'Notturno” for string orchestra op. 40. The 'Intermezzo” is included in its original version …
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| Tzigane (RAVEL MAURICE) Violoncelle Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written origin…
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| Tzigane (RAVEL MAURICE) Violon et Piano Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written origin…
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| Tzigane (RAVEL MAURICE) Orchestre, Violon Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written origin…
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| Il Barbiere Di Siviglia (Le barbier de Séville) Piano, Voix Ricordi
The new reduction of Il barbiere di Siviglia is based on the critical edition of the full score by Alberto Zedda that, republished in 2009, appeared in turn as a fully revised edition - in the light of new sources and updated philological criteria - of the historic and pioneering critical edition of 1969. The 1969 Barbiere di Siviglia was based on the autograph and on manuscript and printed source…
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| Madama Butterfly (PUCCINI GIACOMO) Ricordi
Par PUCCINI GIACOMO. Madama Butterfly took wing under turbulent circumstances. The premiere (Milan, Teatro alla Scala, 17 February 1904) was a disaster, while a second production only months later (Brescia, Teatro Grande, 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score, enough that the result qualifies as a “second ver…
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| Romances In F Major And G Major For Violin And Orchestra Op. 50, 40 (BEETHOVEN LUDWIG VAN) Orchestre, Violon Barenreiter
Par BEETHOVEN LUDWIG VAN. Beethoven's 'Romances' are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form' The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The pe…
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| Carae Rosae, Respirate Rv 624 (VIVALDI ANTONIO) Soprano Solo, Cordes Et Basse Continue Ricordi
Critical edition by Michael Talbot. This motet for soprano, strings and basso continuo, is the only one by Vivaldi to be preserved outside Italy. It is included in two manuscript collections in London: a set of parts in the Royal College of Music and a score in the British Library. The structure is the conventional one of two arias enclosing a short recitative and followed by a brilliant Alleluia.…
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| Sassmannshaus, E. & K. - The Sassmannshaus Tradition. Early Start On The Violin, Vol. 2 Violon [Partition] BARENREITER
A violin method for children Edition : Playing Score Binding : stapled Instrumentation : Violin Contenu : Preface The Third Finger Is The Tonic Triads In C major, G major And D major Songs With The New Finger Pattern The Dotted Quarter Note The Second Finger Changes Between High And Low Positions The First Finger Is The Lowest Note Of The …
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| Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO) Flûte Traversière Cordes et Basse Continue Ricordi
a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemi…
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| Campra A. - Cantate Enee & Didon - Soprano, Basse, Bc- Fac-simile Fuzeau ANNE FUZEAU PRODUCTIONS
Sixième cantate à deux voix, Enée et Didon : Voix de dessus, voix de basse, basse continue. Edition : Paris, C. Ballard, 1714. Présentation de jean Saint-Arroman : Prosodie et agrémentation chez Campra. Cette cantate a été isolée du second livre, parce qu'elle figure au programme de l'Agrégation et du Capes. Le second livre sera publié ultérieurement en entier. Compositeur : CAMPRA André Aute…
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| Pieces De Clavecin Lp78 (FIOCCO / PETECH) Clavecin [Partition] Heugel
Par FIOCCO / PETECH. Harpsichord Pieces, LP. 78 is a set of works for Harpsichord, written by Joseph Hector Fiocco and edited by Diana Petech. This edition includes a really complete preface, with comments and advice to work through this book and explanations of all the symbols that can be found in it. It features 24 pieces divided in two suites, with the second suite set in a more traditional lay…
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| Cantate Enée Et Didon (CAMPRA ANDRE) Musique De Chambre, Voix Et Basse Continue (Dessus Et Basse) Anne Fuzeau Productions
Edition : Paris, C. Ballard, 1714.Présentation de jean Saint-Arroman : Prosodie et agrémentation chez Campra.Sixième cantate à deux voix, Enée et Didon : Voix de dessus, voix de basse, basse continue.Cette cantate a été isolée du second livre, parce qu'elle figure au programme de l'Agrégation et du Capes. Le second livre sera publié ultérieurement en entier. / Musique De Chambre, Voix Et Basse Con…
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| Deutsche Messe (SCHUBERT FRANZ) Chorale SATB [Partition] Barenreiter
Par SCHUBERT FRANZ. Franz Schubert’s popular German Mass of 1827 follows in the footsteps of Michael Haydn’s work Deutsches Hochamt by turning to a German translation of the Ordinary mass. Its homophonic texture and largely syllabic setting of the words make it more accessible to lay choruses than Schubert’s masses in Latin, an advantage reinforced by its diatonic melodic writing and constantly sl…
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| Song For St. Cecilia?s Day (HAENDEL GEORG FRIEDRICH) Soli, choeur mixte et accompagnement Barenreiter
Par HAENDEL GEORG FRIEDRICH. Handel Song for St Cecilia´s Day (HWV 76) (Vocal Score) Following ?Alexander?s Feast? (1736), in 1739 Handel produced a second setting of the ?Ode to St Cecilia? (?Song for St Cecilia?s Day?). At its première it was combined with ?Alexander?s Feast?. Rather than a dramatic plot presentable in the theatre, the Ode, in its seven sections, offers a general hymn of prais…
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| Sonata No 2 for Violin and Piano (SAINT-SAENS CAMILLE) Violon et Piano [Partition] Barenreiter
In E-flat major Op.102. Par SAINT-SAENS CAMILLE. The second half of the 19th century represented something of a ?Golden Age? of the violin sonata in France: influential violin sonatas such as those by Franck, Fauré and Saint-Saëns were among the successful works of this genre, inspiring many further compositions. Saint-Saëns? Violin Sonata No.2 was written in 1896 during a stay of several months b…
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| School Of Bowing Technique Op. 2 (SEVCIK OTAKAR) Violon Barenreiter
The 'School of Bowing Technique? op. 2 is the second important violin tutor by Otakar ?evcík (1852-1934) and deals with the elementary technical demands of the right hand. Divided into three sections, the tutor contains more than 4,000 systematically arranged bowing exercises in increasing order of difficulty.This new edition of the 'School of Bowing Technique? combines the original six volumes in…
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| Peer Gynt Suites - Version For Piano Four-Hands (GRIEG EDVARD) 1 Piano, 4 mains G. Henle
Grieg's incidental music for Henrik Ibsen's drama 'Peer Gynt? contains some of his best-known compositions, such as 'Morning Mood? and 'In the hall of the Mountain King?. Grieg later extracted the most beautiful pieces to form two orchestral suites and arranged himself these versions for piano solo and piano four-hands. There was a surprise in store for us when we were preparing our Urtext edition…
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| Improvisations On Hungarian Peasant Songs Op. 20 (BARTOK BELA) Piano seul [Partition] G. Henle
Op. 20. Par BARTOK BELA. After his 15 Hungarian peasant songs (HN 1404), these Improvisations on Hungarian peasant songs are the second of Bartók'
s works to feature the words '
Hungarian peasant songs” in their title. The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók himself as venturing to '
the outermost limits”. He also breaks up …
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| Sonatas In F Minor And E-Flat Major For Viola And Piano Op. 120 (BRAHMS JOHANNES) Alto, Piano Barenreiter
Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted vio…
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