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Arrangements of works by other composers (I + II) - Berlioz, Hector

complete edition, score, Anthology Indbundet udgave

SEK 7621.00

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The Cunning Little Vixen : Opera in three acts

Leos Janácek began composing his seventh opera, “The Cunning Little Vixen”, based on the popular feuilletons of Rudolf Tesnohlídek, in January 1922. The first copy of the score, since lost, was completed by Václav Sedlácek inOctober 1923, while the second copy was prepared by Jaroslav Kulhánek in January 1924. The world premiere took place on 6 November 1924 under the direction of Ota Zítek and was conducted by Frantisek Neumann. The vocal score waspublished in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right.This volume of the complete edition reprints thecritical edition by Jirí Zahrádka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). Theedition draws on all extant sources and – in consideration of Janácek’s active participation in rehearsals for the premiere production – integrates both the dynamics of František Neumann and the performance markings of Sir CharlesMackerras into the musical text.This is the third opera to be published in the complete edition, following “Fate” and “The Makropulos Affair”.

SEK 7409.00

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Works by Franz Schubert in first editions and early prints (Schubert-Drucke-Verzeichnis) - Schubert, Franz

2 part volumes complete edition, Anthology Indbundet udgave

SEK 11292.00

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The Makropulos Affair : Opera in three Acts, Brno Version

The new edition of Janácek’s penultimate opera “The Makropulos Affair” is a reconstruction of the work’s original version, which shows only a few deviations from the final version. The opera was premiered on 18 December 1926 at the National Theatre Brno with the composer in attendance. The second authorized copy of the score, prepared by Jaroslav Kulhánek, was used for the performance material. This copy also served as the primary source for the new critical edition of the full score. This edition features clearly marked performance instructions by one of the editors, the experienced Janácek conductor Tomáš Hanus. As they have been graphically offset, they can easily be distinguished from the original version.These practical suggestions facilitate the production of the opera and allow the conductor to study the work more easily. In this way, the performance material offers a welcome alternative to previous editions of the opera.

SEK 8470.00

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Symphony No. 9 in D minor Op. 125 Facsimile Score

With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder ! / All mankind becomes brothers.”In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process.,br>Already thelarge-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail.The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story.In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO’s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts.The first edition (2010) was awarded with the German Music Edition Prize “Best Edition” 2011. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder ! / All mankind becomes brothers.”In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process.,br>Already thelarge-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail.The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story.In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO’s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts.The first edition (2010) was awarded with the German Music Edition Prize “Best Edition” 2011.

SEK 10167.00

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Giulio Cesare in Egitto HVW 17 : Opera in three acts

“Giulio Cesare in Egitto” is by far Handel’s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel’s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations essentially four versions on the basis of a meticulous study of the sources within the framework of the “Halle Handel Edition”. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini.The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically.In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in “Giulio Cesare”. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel’s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.

SEK 8332.00

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Symphonie Fantastique Op. 14 : Faksimile Der Autographen Partitur In Der Bibliotheque Nationale De France

Facsimile of the autograph score held in the Bibliothèque nationale de FranceDocumenta musicologica II/532920 pp. of facsimile and 12 pp. of Commentary (Eng/Ger/French)Half-leather binding Loveand insanity, tenderness and vulgarity bordering on the grotesque: Hector Berlioz never avoided extremes, neither in his life nor in his oeuvre. His entire Symphonie fantastique is pervaded by a musical “idéefixe” representing a woman he adored. The symphony brought about his breakthrough and has remained popular ever since. The impact of his masterly approach to composition, especially in the treatment oftheorchestration, could still be felt in the 20th century. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score, which was also usedfor performances, by pasting strips of paper over the bars or parts in question. This facsimile edition, in high-quality four-colour reproduction, presents the manuscript as it is today – with strips of paper that can befolded out, making both versions visible. Hugh Macdonald, General Editor of the New Berlioz Edition, explains the work’s genesis and presents particular passages from each movement.

SEK 8862.00

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Complete Letters in 12 Volumes : Set of 12 Books and CD-Rom

Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European culture. As one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer’s death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated. This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe. The edition of the complete letters This scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made. This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos. The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector’s item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived. The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search. (The 12 volumes as well as the CD-ROM can only be purchased complete). - German text only

SEK 16743.00

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Overtures

In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D”(D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nora programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any otherappellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously.Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its twoauthentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for thefirst time.Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubertventuring into radically new spheres of expression to a greater extent than in virtually any other of his works.

SEK 6932.00

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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 fully coherent 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 complements.Sylvie Bouissou’s new edition differs markedly from previous modern editions and all existing recordings. With its complements she does justice to the performer’s need for Rameau’s various revisions while finally making accessible a version actually authorised byRameau. For the first time it is presented in its complete stylistic and dramatic context.

SEK 5733.00

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Faust : Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)

Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The earlyversions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in aseparate edition BA 8713 in 2016.)Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching andduring the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire sourcematerial now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions inwhose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that isrooted in the tradition of the opéra comique.Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin andMarguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”,and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed.Only in details of orchestration do other numbers differ from the well-known pieces.

SEK 15141.00

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Agrippina HWV 6 : Opera in three acts

Handel’s Agrippina HWV 6 was performed with great success at the 2015 International Handel Festival in Göttingen (Germany) using the new Bärenreiter edition including the performance material and thisvocal score.Agrippina is the last opera that Handel completed and premiered in Italy. The excellent libretto is one of the few original opera libretti that he set to music. The plot is tightlyconstructed, the characters sharply etched and equipped with a wide range of human emotions. Agrippina is married to her third husband, the Roman emperor Claudius. After he is presumed dead, she attempts with deception andintrigueto place her son Nero on the throne.The vocal score includes all the numbers from the appendix of the full score. These were used either during the successful Venetian series of performances in 1709/10 or were deleted orreplaced by other numbers, versions and variants.Urtext edition based on the Halle Handel EditionPerformance material available for hireHardback full score (BA4092-01) and paperback vocal score(BA4092-90) available for saleVocal scores includes:- A singing translation in German- Extensive bilingual Foreword (Ger/Eng)- Idiomatic uncluttered Piano reduction

SEK 6073.00

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Missa solemnis d-Moll op. 123

Beethoven struggled with the “Missa solemnis” for years, searching for a highly personal way to deal with the words and musical traditions of the Mass Ordinary. In the end he produced a work that leaves no listeners cold - some are puzzled but agreat many are deeply moved.The autograph reflects how intensively he worked on the “Missa solemnis” and what a difficult work process it was. Apart from the many corrections there are several torn-out pages. Sometimes Beethoven could only proceed by stitching replacement pagesinto the manuscript.Beethoven authority Hans-Joachim Hinrichsen unveils the stages of its genesis in an understandable and rather detective-like manner. In addition Martina Rebmann explains how this and other autographs were gradually acquired for the Beethovencollection in the Berlin Staatsbibliothek.Reproduced in high-quality four-colour printing, the facsimile replicates the page stubs and fold-out pages, thereby emulating the feel of the original source. Judicious inscriptions with movement headings, continuous pagination, scholarly foliationand measure numbers help readers to find their way more easily in the manuscript.

SEK 7780.00

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Musicalisches Lob Gottes : 13 ausgewählte Kirchenmusiken zwischen 1. Advent und Michaelis

This volume represents the only annual cycle of sacred music of the 18th century printed in score: it was completed in 1744. The textual basis stems from Erdmann Neumeister. In contrast to the usual practice of the TelemannEdition to edit segments of the church years, here the entire course of the church year is presented. The music to be performed at the beginning of each part of the church year and at special celebrations is included.Telemannused a variety of expressive polyphonic techniques to create the introductory dicta. These, like the chorales, are written in concentrated three-part harmony.The preface provides information on the printing history of thechurch year and its dissemination supplemented by comments on performance practice: the critical report analyses the rich source material.Editions of Telemann's preface (with his performance notes and an explanation of hisfigured bass system), the preface on the printing of the texts and the texts of the compositions contained in the volume flank the edition of the music. Facsimiles from the original print and from Hamburg performance materials areincluded.

SEK 5818.00

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