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Introduzione al Gloria RV 642, Gloria in D major RV 589 - Vivaldi, Antonio

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

Things Lived and Dreamt - Suk, Josef

for Piano Performance score, Urtext edition piano Hæftet udgave

Rusalka's Song To The Moon

Antonin Dvorak's Rusalka's Song To The Moon for Soprano and Piano accompaniment, as arranged by Karel Solc.

I Want To Be A Guitarist

This children’s album by renowned Czech composer-guitarist Lukáš Sommer reflects the latest trends in playing and teaching the Guitar. It is suitable for the first three years of lessons. Some of the pieces have even been performed by children and young Guitar students at competitions and concerts in Europe.Each of these little programme pieces is written in a different style with brief explanations of its technical features. Several are composed in an open-ended form that allows players to define the rhythm or to add an accompaniment on open bass strings. In this way the author grants leeway to the learners’ creativity and stimulates their musicalimagination.The pieces are easy to play and the edition comes with attractive illustrations.

eine schöne, prächtige Stadt. – : Wolfgang Amadé Mozart an Constanze Mozart. Brief vom 28. September 1790

The coronation of a new emperor marks a distinctive moment in history. On 9 October 1790 Leopold II. ascended the throne. This special occasion brought together not only the highest representatives of aristocracy in Frankfurt, but also close to 25,000 visitors resided in that city which was about to offer a spectacle of considerable magnitude. You had to participate if you wanted to draw attention to yourself in high society. Wolfgang Amadé Mozart was also one of the visitors. On 28 September 1790, the composer told his wife about his journey from Vienna to Frankfurt which took six days. The cities of Regensburg, Nürnberg and Würzburg belonged to the places where he stopped over. The lively descriptions render an authentic insight into the biography of Mozart in his later years.

Lélio (The Return to Life) - Berlioz, Hector

A Lyric Monodrama The sequel to Symphonie fantastique complete edition, Anthology, Urtext edition 2TSolo/BarSolo/speaker/mixed choir: SSTTBB/2Fl/2Ob/2clarinet/2bassoon/4Hn/2Trp/3trombone/Op/timpani/percussion/piano/Str Indbundet udgave

Music to Soliman second, ou Les Trois Sultanes : Comédie (Laxenburg 1765)

The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg bythe French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print.A popular comedy which in particular was known for its exotic colour, “Solimansecond” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and anaccomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’sinvolvement in incidental music is an exception in his artistic output.In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the sourcematerial, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile.

Piano Concerto No.4 In G Op.58

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Piano Concerto No.4 In G Op.58 : For Pianoforte And Orchestra

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Piano Concerto No.4 In G Op.58

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Piano Concerto No.4 In G Op.58

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Piano Concerto No.4 In G Op.58

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Piano Concerto No.4 In G Op.58

With numerous corrections.Piano reduction with a separate solo Piano part.The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during thecourse of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna andwhich contains a few revisions dated after the aforementioned manuscript.Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions(evenUrtext editions) have now been corrected.Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves.

Bach-Kommentar, Volume IV : Messen, Magnificat, Motetten

The Bach commentary discusses, in four extensive volumes, Johann Sebastian Bach’s complete sacred vocal works from a theological point of view. In the scope of previous research, musicologists attempted to understand Johann Sebastian Bach’s sacred vocal works based on a general knowledge of the Lutheran church and theology. A theological equivalent to the fundamental Bach research presented by musicologists – one that would mainly draw from the contemporary theology relevant for the texts Bach set to music – has not been presented until now. Closing this gap, the Bach commentary is based on extensive theological research and offers readers comprehensible insights into the Bible interpretation used by Johann Sebastian Bach in his sacred vocal works. Volume IV contains Bach’s masses, Magnificat, and motets. The author Martin Petzoldt was Professor for Systematic Theology at the theological faculty of the Leipzig University.

Fragments to Stage Works

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Missa Sancti Bernardi Von Offida : Heilig-Messe

Bernard of Offida, 1604 1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (aSaturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt addedhorns to double the trumpets in the tuttis, and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. Asinthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admiredworks. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartialweight all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (togetherwith Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score(BA4651-90) available for sale

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale