Bärenreiters katalog, utvalgte korverk 2018/2019 finner du HER!
|Concert piece entirely in first position
Ideal for students wishing to perform their first recital
Duration: approx. 10 minutes
Concerto in D major op. 36
for Violin and Piano
Barenreiter’s Concert Pieces
BA 10697 | Violin part with enclosed violin/piano score
Oskar Rieding (1840-1918) is known to all young violinists for his easy-to-play concertos for violin and piano, of which opp. 34 to 36 remain entirely in first position. In op. 36 catchy melodies are coupled with first technical difficulties such as eighth-note arpeggios, 16th-note runs and chromaticism. These appear in small measures throughout the entire work. The Concerto in D major is well-suited for younger student recitals.
Ideal for the first «proper» recital
Of moderate technical difficulty but with brilliant impact
Duration: approx. 8 minutes
Sonata in C major op. 40/1
for Violoncello and Piano
Barenreiter’s Concert Pieces
Edited by Christoph Sassmannshaus
BA 10698 | Cello part with enclosed cello/piano score
Jean-Baptiste Breval (1753-1823) was a member of the orchestra at the Paris Opera and also a prolific composer. His works include concertos for cello, string quartets, comic operas and a violoncello tutor.
However he is best-known for the Sonata in C major which has become a standard work for teaching purposes, even in arrangements for other instruments. The two movements (Allegro and Rondo Grazioso) can also be performed independently from one another. This sonata belongs to the basic repertoire of every young cellist.
27 short pieces to be combined ad libitum
Ideal for recitals
Separate viola part included as a substitute for the second violin
|George A. Speckert:
27 Miniatures for String Trio (two Violins and Cello or Violin, Viola, Cello)
Ready to Play
Here is fresh material for young string ensembles presented by George Speckert who is a master arranger for amateur orchestras. Each of these 27 relatively short character pieces evokes a unique mood in its very title: Brisk, Sad, Sunset, and many more. When heard in succession, the scenes sometimes unfold in the listeners’ minds like in a movie.
The collection is perfect for creating short suites with an ad libitum number of movements, and thus is ideal for school recitals, family celebrations or street busking. These miniatures can also be used to musically accompany literary readings or as soundtracks for video sequences. The second violin part may also be played by a viola.
New edition of another Sevcik opus for training the right hand
A follow-up to School of Bowing Technique op. 2
Foreword by the editor (Cz/Eng/Ger)
Medium to high level of difficulty
Forty Variations for the Violin op. 3
Edited by Pavel Kudelasek
Otakar Sevcik’s single-volume Forty Variations for the Violin occupies a special position in his extensive oeuvre of teaching material. Here he follows up on his systematic «step by step» work for the right hand, which he covered in detail in his previous op. 2.
Nonetheless, this volume can be used as a self-contained unit, enlivening the violinist’s daily regimen and offering a concise and highly effective method for mastering the right hand, from elementary exercises to virtuoso technique.
The editor, Pavel Kudelasek, is a teacher at the Prague Conservatory.
|The complete Carnival of the Animals for two flutes
14 challenging and effective pieces
The Carnival of the Animals for two Flutes Arranged by Jennifer Seubel and Sally Beck
Camille Saint-Saens’ 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-minded musician.
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 version into 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 be substituted for either flute part in No. 2 «Poules et coqs» and for the first flute in No. 7 «Aquarium«.
Scholarly-critical Urtext edition based on the New Schubert Edition
Spacious new engraving with practical page turns
Detailed notes on historical performance practice (Ger/Eng)
Updated Foreword (Ger/Eng) and Critical Commentary (Eng)
Schubert’s rejected version of the second movement accessible online
Sonata for Pianoforte in G major op. 78 D 894
Edited by Walburga Litschauer
BA 9615 | replaces BA 5630
Schubert’s tuneful and buoyant Sonata in G major was published in April 1827 as a «Fantasy or Sonata», to quote the heading of its first movement. His first reviewer noted that «the beloved and talented Lieder composer has presented the music world with a fantasy in which he lets his inventiveness loose. He presents the pianist with a harmonic indulgence without however amassing too many difficulties to complicate the execution».
Our scholarly-critical Urtext edition, based on the definitive New Schubert Edition, presents the sonata in a spacious new engraving with practical page turns. The work is introduced by an updated Foreword (Ger/Eng) and detailed notes on key questions of performance practice, e.g. pedalling and Schubert’s characteristic way of writing accents. Rounding off the edition is a Critical Commentary (Eng) containing alternative readings of relevance to the performer. Schubert’s rejected initial version of the second movement can be accessed via the Barenreiter website.
Third volume from the new five-volume Urtext edition of Dvorak’s complete songs
One of the most popular and best-known song cycles of the romantic repertoire
Extensive Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor
Vocal texts in three languages (Cz/Eng/Ger)
Gypsy Songs op. 55
for Voice and Piano
Edited by Veronika Vejvodova
BA 10431 | High Voice | replaces H 1559
BA 10432 | Low Voice | replaces H 1739
Dvorak’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and the work’s dedicatee.
For this Urtext edition the editor Veronika Vejvodova has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice.
Detailed historical Introduction (Fr/Eng)
Practical keyboard reduction based on Opera Omnia Rameau
Each number is preceded by a brief outline of the dramatic situation and an English translation of the vocal text
Co-edited by the Centre de musique baroque de Versailles and the Societe Jean-Philippe Rameau (distributed exclusively by Barenreiter)
Airs d’opera, Volume 3 /
Operatic arias: Soprano
Edited by Sylvie Bouissou, Benoit Dratwicki and Julien Dubruque
Keyboard reduction by Francois Saint-Yves
BA 9193 | Vocal Score (Fr)
Volume 4 for soprano contains the second half of the large-scale arias and ariettas that Rameau composed for lyric soprano (the 18th-century equivalent of today’s lyric coloratura soprano) in his prologues and divertissements. Each number is accompanied by a keyboard reduction and is introduced by a brief account of the dramatic situation as well as an English translation of the vocal text.
Baroque opera in honour of the conciliation of Europe on the occasion of the Treaty of Aachen
First practical performing edition with a keyboard reduction
Based on the complete edition Opera Omnia Rameau (OOR)
Opera with a prologue and three acts
Edited by Pascal Denecheau
BA 8857-90| Vocal score (Fr)
The opera Nais was premiered on 22 April 1749 at the Academie royale in the Palais-Royal, Paris, in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau’s death and achieved great success as the «opera of peace», even though it did not appear in print during the composer’s lifetime.
In numerous arias Rameau provides his singers ample opportunity to shine, while he reveals his orchestral mastery, in particular in the chaconne and the various other ballets.
This edition is the result of a meticulous comparison of all known musical sources. In the main section, it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival.
First Urtext edition based on The Bohuslav Martinu Complete Edition IV/4/1 (Chamber Music for 6–9 Instruments I)
Foreword by the editor (Cz/Eng/Ger)
Nonet No. 2 H 374
For Flute, Oboe, Clarinet, Bassoon, Horn, Violin, Viola, Violoncello and Double Bass
TP 440 | Study Score
Martinu’s Nonet No. 2 was composed in 1959, the final year of his life. It was commissioned by the ensemble Czech Nonet which premiered the piece at the Salzburg Festival, and it appeared in print posthumously in autumn of that same year.
The principal source for this edition was Martinu’s autograph score. A photo-reproduction of the autograph with handwritten entries by the performers was used as a reference source as well as the first edition, which includes several amendments made by the Czech Nonet and authorised by the composer. Also taken into account were the corrections found in the correspondence between Martinu and violinist Emil Leichner, the ensemble’s artistic director. Unlike the version in the complete edition, the clarinet part has been transposed for the clarinet in B-flat.
Suitable for any voice (ambitus from F to C)
Traditional notation with no playing inside the piano
Enticing possibilities of interpretation
Dir, mir zu
for Voice and Piano
This short, highly compact song is based on an excerpt from a poem by Philipp Luidl. Thanks to the narrow ambitus of the vocal part, it is suitable for every vocal register. The piano part is strictly bound to the musical text, whereas the vocal part, though precisely notated, is granted almost unlimited leeway in performance. Almost anything is permitted, from traditional song interpretation to uninhibited Sprechgesang in which even pitches can be redefined. The imagery of the poem – a stone constantly rolled back by the sea – gives rise to music of great flexibility. Piano and voice complement each other while preserving their independence.
Song cycle with visionary, new poetic aura
canti della tenebra
Five Lieder for mezzo-soprano and piano
Text by Dino Campana
Homage to Franz Liszt
Duration: ca. 7 min.
Leise Gondeln for Piano
With its impressive range of gentle shades and hues, this composition plays with memories of Franz Liszt’s late piano pieces «La lugubre gondola» I and II. Manfred Trojahn likewise presents subdued melodies floating above an undulating accompaniment. These are the fantasies of a contemporary composer who creates something new from an historic texture by subtly recasting it. Suddenly the otherwise tranquil flow is broken by a scurrying interloper – a reminiscence of the great virtuoso pianist Franz Liszt?
An effective concertante piece
An addition to the more demanding repertoire
Practical page turns
ucelli e ucelletti
A piece for bassoon solo
There are songbirds and birds whose bird calls are less than cantabile. In the garden of Rome’s Villa Massimo, the one and the other birds (ucelli) and songbirds (ucelletti) inspired composer Manfred Trojahn to write this adventurous and very charming piece for bassoon solo.
This is a valuable addition to the small repertoire for this fantastic instrument. ucelli e ucelletti captivates with its vitality and musical richness.
|New Promotional Material
This brochure presents Barenreiter’s new publications due to be published during the first half of this year.
This new piano reduction of Mozart’s “Coronation Concerto” K. 537 is based on the music text from the New Mozart Edition and is fully compatible with the already existing performance material (BA 5318).
A separate Urtext solo piano part is included in this piano reduction edition allowing the soloist not only to play the work as customary in recent decades, but also, for the first time since Mozart’s era, to improvise above the tutti basses and to conduct the ensemble from the piano.
The new edition is supplemented by a separate booklet containing cadenzas and selected lead-ins by August Eberhard Müller, Carl Reinecke and Max Reger.
• Urtext edition based on the New Mozart Edition (NMA)
• Separate Urtext solo piano part included
• Enclosed booklet with cadenzas
• Provides new impetus for period performance practice
“I think Bach would have forgiven me for embarking on these transcriptions. Whether he would have forgiven the way I did it is, of course, another matter.” (Gustav Leonhardt)
The harpsichordist, conductor and organist Gustav Leonhardt was considered a pioneer of historical performance practice. Between 1968 and 1978 he made harpsichord transcriptions of several of Bach’s compositions for unaccompanied violin or violoncello. Now these transcriptions are being made available to us by his pupil, the famed harpsichordist Siebe Henstra, based on the handwritten notes that Leonhardt used for his own performances.
– Informative Foreword by early music specialist Skip Sempé (Ger/Eng)
– Editorial notes by the editor Siebe Henstra