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Klavier-Festival Ruhr. Bärenreiter Piano Album -

Contemporary music for two and four hands With fingerings by Pierre-Laurent Aimard und Tamara Stefanovich Performance score, Anthology piano Paperback

Les Indes Galantes RCT 44 : Ballet Heroïque With A Prologue and Four Acts

The main body of the new edition of Les Indes galantes, published in Opera Omnia Rameau (OOR IV.2, 7), restores the version authorised by Rameau in 1736. This basic editorial decision has made it possible to present a fullycoherent and authenticated reading of the work (after the adjustments from the earliest performances). All other versions before and after 1736 are gathered together in 19 appendices.Sylvie Bouissou’s new edition differsmarkedly from previous modern editions and all existing recordings. With its appendices she does justice to the performer’s need for Rameau’s various revisions while finally making accessible a version actually authorisedbyRameau. For the first time it is presented in its complete stylistic and dramatic context.Practical vocal score by François Saint-Yves for keyboard accompanimentBased on a reassessment of all sources andversionsDestined to have a clear impact on performances of Rameau’s magnum opusUrtext edition from the Rameau edition 'Opera omnia'.Full score (BA8860) and vocal score (BA8860-90) available forsale.Performance material (BA8860-72) available for hire.

Symphony - Saint-Saëns, Camille

score, Urtext edition Fl1/Fl2/Fl3(Fl-picc)/2Ob/EnglHn/2clarinet/clarinet-B/2bassoon/bassoon-Co/Hn1/Hn2/Hn3(chrom.)/Hn4(chrom.)/3Trp/3trombone/timpani/Tr-Gr/Tri/Be/Org/piano-4ms/2V/Va/Vc/double bass Paperback C minor

Sonata - Saint-Saëns, Camille

Incomplete for Violoncello and Piano First edition Performance score, part(s), Urtext edition Vc/piano Hæftet udgave D major

Allegro Appassionato - Saint-Saëns, Camille

for Violoncello with Piano Accompaniment Solo part can be used for version with Orchestra With an Urtext solo part and a solo part with bowing and fingering Performance score, part(s), Urtext edition Vc/piano Hæftet udgave

Oratorio de Noèl - Saint-Saëns, Camille

for Soloists, Choir and Organ organ reduction Soli/mixed choir/Org Hæftet udgave

The String Quartets : Set of parts - BA 10927 and BA 10928

Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn. Saint-Saëns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important Frenchchamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Works”.

String Quartet no. 2 G major op. 153 : Studyscore - BATP779

Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn. Saint-Saëns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important Frenchchamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Works”.

String Quartet no. 1 E minor op. 112 : Studyscore - BATP779

Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn. Saint-Saëns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important Frenchchamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Works”.

Danse macabre op. 40 : Transcription for Violin and Piano by the Composer

In his symphonic poem “Danse macabre” Saint-Saëns takes up a poem by Henri Cazalis that he had already set as an art song. Here the Devil brings the dead to life by playing his violin. Although the orchestral work was given alukewarm reception in its early performances, or was even rejected, it became highly popular and internationally famous in the years that followed. Of the countless later arrangements and variations (e.g. by Franz Liszt),Saint-Saëns’ own version for violin and piano stands out as particularly successful.Céline Drèze’s advance edition for a future volume of the “Saint-Saëns Complete Edition of the Instrumental Works” is the first modernscholarly edition of this celebrated piece. This Urtext edition draws on the original print of the 1877 version, while eliminating its many misprints and anomalies on the basis of the autograph.

Dance Macabre Op. 40 - Full Score : Symphonic poem after a poem by Henri Cazalis

Saint-Saëns was a great admirer of the symphonic poems by Franz Liszt. His own symphonic poem "Danse macabre" reflects not only his affinity to medieval superstitions but also constitutes a tribute to Liszt’s "Totentanz"."Danse macabre" is based on the eponymous song Saint-Saëns composed in 1872 after Henri Cazalis’ poem. At its premiere, the work was not well-received: in fact it was booed, possibly due to the "diabolic" solo violin playing on an E-string that was tuned down to E-flat, which the audience might have misinterpreted as being out of tune. However within ten years the work had become so popular that Saint-Saëns quoted some of its musical themes in "The Carnival of the Animals". Since the composer’s death, "Danse macabre" is among the works most often mentioned in connection with the theatrical face of death found in popular mortuary cult.

Tonight I Dance Alone

Tonight I Dance Alone for double choir a cappella consists of three poignant episodes from the life of an old man. We encounter him before his wedding, before celebrating his wedding anniversary and now as an elderly widowerwho says to his grandson:“Soon we will dance in the God-light,My love and I.Soon will the moon be ours again,And the endless shining starsIn the halls of heaven.Soon, my love, verysoon;But tonight, one last time,Tonight I dance alone.”The libretto and the descriptive music are deeply moving and constitute an ideal partnership. This is Mårten Jansson's first collaborationwiththe well-known librettist Charles Anthony Silvestri. The piece provides a well-worth challenge for ambitious choirs.Its world-premiere by the Saint Louis Chamber Chorus under the baton of Philip Barneswas on 1 October2017 in Saint Louis, MO (USA)- mixed chorus a cappella (SATB + SATB)

Six Études pour piano : Premiere Livre Opus 52

- Ground-breaking musical text based on the “Œuvres instrumentales complètes” by Camille Saint-Saëns - Extensive Foreword on the genesis and significance of the etudes (Fr/Eng/Ger) and a Critical Commentary (Eng) - With notes on interpretation (Fr/Eng/Ger) One of Saint-Saëns' mature works, the "Six Études pour piano" op. 52, appeared in 1877 around the same time as his opera "Samson et Dalila". The second etude of the cycle was originally written in 1868 for the “École du pianiste”, the French edition of the piano method by Lebert and Stark. With his collection, the composer who had embarked on a compilation of piano etudes for the first time, evidently wanted to deliberately? distinguish the cycle from the character of the brilliant concert etude: Each of the etudes is devoted to one or more specific difficulties or compositional techniques, as in the fugues. He assigned the individual pieces to famous virtuosos of his time, such as Anton or Nikolai Rubinstein or Marie Jaëll. The new Urtext editions are based on the ground-breaking musical text of the "Œuvres instrumentales complètes" by Camille Saint-Saëns, for which the editor has meticulously evaluated all known sources. A detailed Foreword provides information on the genesis and significance of the etudes. Readings and variants are precisely documented in the Critical Commentary (Eng). Notes on interpretation (Fr/Eng/Ger) as well as an elegant music engraving provide the pianist with optimal conditions for studying these virtuosic etudes.

Notes - The Musicians' Choice - Purple : The Musicians' Choice, Bärenreiter notebook with the Saint-Saëns purple cover

Samson et Dalila : Opera in three acts

Saint-Saëns’ setting of the biblical story of Samson, a hero equipped with superhuman powers, and his seduction by the Philistine Dalila is considered his magnum opus for the musical stage. It stands alongside Gounod’s “Faust” and Bizet’s “Carmen” among the most popular operas in the French repertoire. Lust, hate, frailty and religious war are the ingredients of the plot. Among other things, the sensual music includes Dalila’s famous arias “Mon coeur s’ouvre ta voix” and “Printemps qui commence”. The Bärenreiter vocal score, newly engraved with a clear presentation, contains Richard Pohl’s authentic singable translation of the libretto used at the Weimar premiere in 1877.

The Carnival Of Animals For Two Flutes

Camille Saint-Saëns’ The Carnival of the Animals is one of his most popular works altogether. Yet during his lifetime he refused to publish this orchestral piece for fear it would damage his reputation as a serious-mindedmusician.Now Jennifer Seubel and Sally Beck, the flautists of “Duo Noble”, have arranged this famous work for two flutes.The transformation of the major instruments, timbres and melodies of the orchestral versioninto solely two flute parts posed a special challenge. The results exploit the full tonal spectrum of the flute. The arrangement offers several alternatives to expand the range of sound: for example, a piccolo can besubstitutedfor either flute part in No. 2 Poules et coqs and for the first flute in No. 7 Aquarium.The complete Carnival of the Animals for two flutes14 challenging and effective pieces

Marienvesper (KA)

In 1732 Giovanni Battista Pergolesi composed a setting of the Vespers in honor of St. Emidius, Naples’s patron saint and protector against earthquakes. All that has survived are the introit Domine ad adjuvandum and three psalmsettings: Dixit Dominus, Laudate and Confitebor.Malcolm Bruno’s reconstruction consists of Pergolesi’s Hymnus, Magnificat, several short instrumental interpolations, and the contrafactum of a secular cantata for the SalveRegina, thereby presenting a full cross-section of Pergolesi’s artistic evolution. The reconstructed Vespers ranges from the early Confitebor , with its allusions to Vivaldi, to the late Salve Regina with its reminiscences ofthefamous Stabat Mater; from contrapuntal choral writing to operatic arias; and from the magnificently scored Dixit to the almost intimate Laudate.The present edition follows the original sources as closely as possible andcontains an appendix with detailed notes on performance practice.Performance material available for hireEffective reconstruction of a full-length workCross-section of Pergolesi’s sacredmusicClear and easy-to-play piano reduction