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Symphony No.26 In E-Flat, K.184

Symphony No.26 In E-Flat, K.184

Study Score format 22.5cm x 16.5cm. The Symphony No.26 In E-Flat, K.184 (166a) was probably written in Salzburg in March 1773. Scored for Flute (2), Oboe (2), Bassoon (2), Horn (2), Trumpet (2),Strings. Available for sale full score & performance material (BA4744) and study score (TP72). The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it intoa practical format. The Barenreiter Urtext Study Scores, format 16.5 x 22.5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and bindingaswell as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices.

DKK 128.00
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Grande Sonate In A-Flat Major Op. 26 : Funeral March

Grande Sonate In A-Flat Major Op. 26 : Funeral March

Beethoven’s four-movement Sonata in A-flat major Op.26 belongs to his most popular works. It is dedicated to Prince Lichnowsky, one of his most generous patrons and the dedicatee of, for example, the Grande Sonate pathétiqueOp.13 and Symphony No.2 Op.35.The work’s initial drafts date from 1800 01; it was first published in March 1802.This demanding sonata is highly varied in its form: it begins with a set of variations and contains thefamous Marcia funebre sulla morte d’un Eroe as its third movement, earning it the nickname “Sonata with the Funeral March”. The identity of the title’s eroe (hero) remains unknown to the present day. The march was performedatBeethoven’s funeral on 29 March 1827 in an arrangement for orchestra.For this Bärenreiter edition Jonathan Del Mar, possibly as one of the first editors of a modern edition, consulted the composer’s autograph in theoriginal. This enabled him to decipher details of Beethoven’s handwriting in particular with regard to the exact notation of doubtful slurs. The result is a most reliable and thoroughly-researched musical text. Differingreadings and editorial decisions are documented in the Critical Commentary. The edition has been finely engraved and includes practical page turns. Information on central issues of historical performance practice (pedalling,ornaments, tempo, dynamics, articulation) is provided in a detailed chapter.Scholarly-critical Urtext edition based on most recent Beethoven researchEvaluation of Beethoven’s autograph in theoriginalElegant engraving with practical page turnsInformative Introduction (Eng / Ger)Discussion of central performance practice issues (Eng / Ger)Detailed Critical Commentary (Eng)

DKK 137.00
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Piano Concerto in D major No. 26 "Coronation" : KV 537 - New Piano Reduction

Piano Concerto in D major No. 26 "Coronation" : KV 537 - New Piano Reduction

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.

DKK 243.00
1

Stabat Mater

Stabat Mater

The “Stabat mater”, composed shortly before Pergolesi’s untimely death at the early age of 26, quickly attracted attention. The work’s importance was soon so great that none other than Johann Sebastian Bach performed a Germanversion of the work based on the 51st Psalm. Numerous copies, prints and arrangements attest to the work’s vast popularity, a popularity that still exists today.For the present edition, the autograph was for the first timecompared to a very early Neapolitan score that is presumably based on the parts from the work’s premiere. The findings have influenced the musical text; the details are described in the critical commentary.Thepopularwork is presented in a well researched Urtext editionClear, idiomatic piano reduction

DKK 170.00
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Classic Hits for two Clarinets

Classic Hits for two Clarinets

“Récréation” and “divertissement” – relaxation and entertainment: those were the popular catchwords applied in the 19th century to arrangements of well-known and much loved pieces. They allowed larger scored compositions to find their way into theparlour or music lessons. The 26 duets in this volume are mostly taken from 19th century tutors, though some have also been prepared by the editor. They include popular melodies by Mozart, Haydn, Gluck, Weber, Beethoven, Mendelssohn, Schubert,Schumann and Chopin. These moderately difficult duets are suitable for ambitious beginners. The second part is generally played by the teacher. From the contents: W. A. Mozart, “Das klinget so herrlich” (The Magic Flute) / F. Schubert, “Lullaby” (op. 98, no. 2 D 498) / R. Schumann, “Träumerei” (Scenes from Childhood) / F. Mendelssohn Bartholdy, “Wedding March” (A Midsummer Night’s Dream) / F. Chopin, “Waltz”(op. 64, no. 2) / L. van Beethoven, “Freude schöner Götterfunken” (Symphony no. 9 op. 125) / C. M. von Weber, “Huntsmen’s Chorus” (Freischütz).

DKK 188.00
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Missa In Tempore Belli

Missa In Tempore Belli

Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus IIdemanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in theBergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined whenpreparingthis edition the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion,and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score, parts (BA4652), vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94)available for sale

DKK 260.00
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Missa In Tempore Belli : Mass in Time of War

Missa In Tempore Belli : Mass in Time of War

Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus IIdemanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in theBergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined whenpreparingthis edition the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion,and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score, parts (BA4652), vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94)available for sale

DKK 171.00
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Lucio Silla K.135

Lucio Silla K.135

Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg.The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate, K.87 (74a), for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started workon the opera in Bologna on 29 September 1770, and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second, Lucio Silla (K. 135), again commissioned for the 1771–72 Carneval seasoninMilan, doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona, where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received aninvitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand, the third son of Maria Theresia, scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba,K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

DKK 762.00
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Overtures

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.

DKK 5559.00
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