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Leichte Klavierstücke und Tänze

Leichte Klavierstücke und Tänze

Bartók’s voluminous output for the piano contains a great many exquisite masterpieces at every level of difficulty. This collection gathers together easy to moderately difficult pieces, including a wide variety of dance formsand folk-music miniatures. Players can coax magical sounds from the instrument using a varied refinement of touch such as silently depressed keys or can even play in two keys at once (bitonality). In addition, all of thisprovides a stimulus for improvisation.This collection is a welcome addition to the repertoire used in music schools and private lessons and will, of course, appeal to all lovers of Bartók’s music. Besides familiar works,italso contains several that have never before been edited. Two pieces handed down as fragments have been judiciously completed by the editor. Care has been taken to provide a spacious engraving and practical pageturns.Easy to moderately difficult pieces with fingeringIdeal for teaching purposesSeveral pieces edited for the first timeSpacious engraving with practical page turns

DKK 171.00
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Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Ich freue mich im Herren : Motette Nr. 14 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 124.00
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Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Die mit Tranen saen : Motette Nr. 3 aus Israelsbrünnlein

Johann Hermann Schein (1586 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of thefirst to import the Italian style onto the traditional elements of Lutheran church music.The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the OldTestament.

DKK 69.00
1

Early String Ensemble Playing : 1. Violin, 2. Violin (Viola) Violoncello

Early String Ensemble Playing : 1. Violin, 2. Violin (Viola) Violoncello

The Sassmannshaus “Early Start” string methods cultivate playing together as early as possible, initially in duets. However playing in larger mixed ensembles is also encouraged and this tried-and-trusted edition for strings provides the perfect start for this. The first songs can all be performed in canon: each piece is notated in violin, viola and bass clef so that all three string instruments can play together in any number and combination. The collection then continues with through-composed pieces by such composers as Johann Valentin Rathgeber and Johann Joseph Fuchs. Here the middle part may optionally be performed by a viola or second violin.

DKK 158.00
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Don't Feed The Animals : 12 Pieces for String Ensemble

Don't Feed The Animals : 12 Pieces for String Ensemble

In this edition George Speckert has depicted an entire menagerie of small animals in 12 movements. Framed by an overture and epilogue, ten animals/species make an appearance. These easy little character pieces can be played inany order by two violins, viola and cello, either one or more to a part. It is a fun-to-play collection especially suited for children and invites them to expand on these pieces by adding little tales, pictures or scenes.-Easy fun pieces on animals geared towards children- Suitable for smaller and larger recitals- Can be played by a variable number of string players- Score & 5 parts (Violin I,II,III; Viola [or ViolinIII];Cello)

DKK 200.00
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Ragtime : Von Scott Joplin By Scott Joplin

Ragtime : Von Scott Joplin By Scott Joplin

“It’s never right to play Ragtime fast.”(Scott Joplin) Most listeners associate “ragtime” with the music of Scott Joplin, one of the earliest African-American composers to straddle thedivide between classical and popular music. It was Joplin who brought this musical style to the pinnacle of perfection. The term “ragtime” stems from “ragged time” and describes the contrast betweenthe sprightly syncopated melodies in the right hand and the accentuated “oom-pah” bass in the left. This collection offers deeper insight into Joplin’s art, a combination of folk music, African rhythmsandclassical piano music. Jean Kleeb has simplified the works and added fingering. Edition in celebration of Joplins’ 150th anniversary in 2018 7 typical and well-known pieces in their entiretyDifficult passages are simplified With fingering

DKK 200.00
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The Roots Of Jazz

The Roots Of Jazz

Speckert’s popular “The Roots of Jazz” collection of jazz pieces and styles for violin and violoncello now comes in an edition for two violoncellos.Whether it be arrangements of originals such as “The Entertainer” (Scott Joplin), “Hot Tiger Rag” (Nick la Rocca), “St Louis Blues” (W. C. Handy), “Nobody Knows The Trouble I've Seen” (trad) or original compositions by George Speckert, these pieces not only have catchy tunes and snappy rhythms, they’re also easy to play. Exciting stuff!With skill and sensitivity Speckert, who actually was born in New Orleans, captures the typical melodic, harmonic and rhythmic style of each genre, whether ragtime, blues, boogie woogie,gospel, folksong or early jazz. Equally suitable for music-making fun in lessons, recitals or your own living room.

DKK 200.00
1

27 Miniatures For String Trio

27 Miniatures For String Trio

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, andthus 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 beplayedby a viola. score with 4 parts (violin I,II, viola, cello) Separate viola part included as a substitute for the second violin 27 short pieces to be combined ad libitum Ideal forrecitals

DKK 200.00
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Missa In C Major K.258

Missa In C Major K.258

The dating “nel mese Decembre 1776” on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph, Leopold Mozart inscribed the title Missa, but at the incipit on the oldcover of the autograph collection, he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form, it calls for additional instrumentsbesides the usual church trio, which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes, whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe partsseemto have been unavailable to any copyists.Urtext of the “New Mozart Edition”Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score &performance material (BA4851) and vocal score (BA4851-90) for sale

DKK 158.00
1

Airs d'Opera français : Baritone

Airs d'Opera français : Baritone

This volume contains French operatic arias for baritone from works that opera reformer Christoph Willibald Gluck was commissioned to compose for the Paris Opéra: “Iphigénie en Aulide” (1774) “Cythère assiégée” (1775) “Alceste”(1776) “Armide” (1777) “Iphigénie en Tauride” (1779). The informative text sections contain a Foreword (Fr/Eng), a brief account of the dramatic context and a literal English translation of each aria.About the series:Christoph Willibald Gluck: French Operatic Arias. For the first time all the arias from Christoph Willibald Gluck’s French operas are being published in arrangements for voice and piano. This series, a coproduction with the Centrede musique baroque de Versailles (CMBV), presents this collection according to voice register in four volumes.With their wealth of arias and informative texts, these volumes offer a rich treasure-trove from works by this major18th-century opera composer for use in voice lessons, auditions and recitals.

DKK 383.00
1

Russian Songs

Russian Songs

At the behest of his friend, the businessman and benefactor Jan Neff, who also gave the impetus for “Moravian Duets”, in early 1883 Antonín Dvorák arranged 16 Russian folk songs selected from the collection “Songs of the Russian People”, which had been published in 1866 by the St Petersburg composer, pianist, and publisher Matyáš Bernard (1794–1871) and which Dvorák had probably received directly from Neff, who was an avid Russophile. In his arrangement, Dvorák merely supplemented the original melodies with a second voice, while also adapting Bernard’s stylisation of the piano accompaniment in some cases (most noticeably in songs Nos. 6, 14, and 16). The arrangements testify to Dvorák’s understanding of the distinctive character of the original songs, and they evince the composer’s fully mature style. The present edition is a reprint of the edition from 1951 (published by Orbis), based on Dvorák’s autograph (Antonín Dvorák Complete Edition VII/5).

DKK 124.00
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The Music Books Of Mozart And His Sister For Piano

The Music Books Of Mozart And His Sister For Piano

Until now the edition The Music Books of Mozart and His Sister has only been available as part of the boxed set of Mozart’s oeuvre for piano (BA 5749) which has gone out of print. Now, for the first time, it can bepurchased separately. Based on the New Mozart Edition, this is the only publication to contain all the pieces, sketches and fragments found in the notebooks. The Foreword by the great Mozart scholar Wolfgang Plath providesvaluable information on the pieces themselves and on the question of their authorship; besides Mozart’s earliest juvenilia, some of which formed the basis of later compositions, the notebooks also contain works byLeopoldMozart and other composers. Facsimile illustrations from the autographs convey a lively picture of this collection of easy to moderately difficult keyboard pieces ideally suited for teaching purposes.-Scholarly-critical Urtext edition based on the New Mozart Edition- Only complete edition of the Mozart siblings’ notebooks- Ideal for teaching purposes: easy to moderately difficult- Numerous facsimileillustrations

DKK 413.00
1

Violin Concerto No.1 in B-flat major K.207

Violin Concerto No.1 in B-flat major K.207

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775, which witnessed the creation of thefive concertos for Violin and orchestra as well as several single movements for the same scoring.The reasons for this flourish of activity in this domain lie partly in the fact that Mozart, who still occupied thepost of concertmaster to the Prince-Archbishop, was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility ofexperimentingwith all the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.New, straightforward Piano reduction (BA4863-90) with:- Violinsolo part with the Urtext of the New Mozart Edition- Additional violin solo part with fingerings, bowings and performance comments- Additional booklet with cadenzas and transitions by L. Auer, J. Joachim, S. Franko ,E. Ysaÿe , M. WulfhorstThis collection offers players a spectrum of styles available in no other publication.

DKK 192.00
1

Concerto For Harpsichord No.6 In F Major

Concerto For Harpsichord No.6 In F Major

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it isalmost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto in F major, BWV 1052 is the sixth of the harpsichord concertos contained inthe autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek, Mus. ms. Bach P 234). The initials at the end of the piece, SDGl ('Soli Deo Gloria'), form a pendant to the J.J. ('Jesus Juva') found attheopening of the D-minor Concerto, BWV 1052. This indicates that BVW 1057 formed the final piece in this six-work opus, the only authentic and self-contained collection of concertos we have from Bach apart from his presentationcopy of the Brandenburg Concertos (1721). Like all the other concertos in this series, BWV 1057 is an arrangement of an earlier work, in this case the Fourth Brandenburg Concerto in G major (BWV 1049).Urtext of the NewBach EditionFull score & parts (BA5229), two-keyboard reduction (BA5229-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

DKK 226.00
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Missa longa In C Major K.262

Missa longa In C Major K.262

The Mass K.262 (246a) is known as Missa longa. Leopold Mozart designated it so next to the incipit on the cover of the autograph collection of five masses in C major by his son. Mozart literature gives the year of origin as1776, without mentioning the speculative nature of this claim.The monumentality of the Missa longa suggests that the work was written for a particularly solemn occasion. When scanning for outstanding ecclesiastical eventsin the 1770’s, one cannot ignore the consecration of Ignaz Josef Count Spaur, coadjutor and administrator of the diocese of Brixen, as titular bishop of Chrysopel on 17 November 1776 in the Salzburg cathedral. Erich Schenkclaimsthat Leopold Mozart’s mention of Wolfgang’s “Spaur Mass” in a letter of 28 May 1778 was in reference to the consecration of Ignaz Josef Spaur, an old friend of the Mozart family. Mozart’s work would then have to be seen asan homage of a truly personal nature. The Missa longa is the only setting of the Ordinary from this period which is appropriate to such a highly solemn event.Urtext of the “New Mozart Edition” Ideal for churchservices and concert performances Full score & performance material (BA4853) and vocal score (BA4853-90) for sale

DKK 200.00
1

Works For Mixed Choir and Orchestra

Works For Mixed Choir and Orchestra

This volume of “Œuvres complètes de Gabriel Fauré” contains Fauré’s four secular choral works in their orchestral arrangements, namely “Les Djinns”, “La Naissance de Vénus”, “Madrigal”, and “Pavane”. These works were composed between 1876 and 1887; thereafter Fauré wrote choral compositions based only on sacred texts. The first three works are presented here for the first time in a full score edition, previously having been published only in their versions with piano accompaniment. This edition is therefore the first to present the works with an authoritative musical text based on the careful study of the sources.“Les Djinns” (1876-76) for mixed choir and orchestrais based on the famous poem by Victor Hugo first published in the collection “Les Orientales”, while “La Naissance de Vénus” (1882) for soloists, choir and orchestra is based on a text by Paul Collin. “Madrigal”, the orchestral version of which cannot be dated with certainty (around 1891, for a quartet of soloists or choir) has been composed after a poem by Armand Silvestre, and the famous “Pavane”, originally composed for orchestra and only later supplemented with a text by Symbolist poet Robert de Montesquiou, is presented here in an elegant, graceful version with female choir.

DKK 2659.00
1

Organ Works Volume 1 : Orgel Büchlein

Organ Works Volume 1 : Orgel Büchlein

Volume 1 of Bach’s organ music presents some of the most frequently played organ pieces altogether. Here they appear in a new engraving based on the New Bach Edition (NBA).This updated edition takes into account thelatest findings of Bach scholarship: thus, for example, a newly-discovered copy of the first edition containing inscriptions in Bach’s own hand could be incorporated into the musical text of the Schübler Chorales.For theOrgel-Büchlein, Bach’s autograph manuscript remains the principal source. Yet a glance at its early dissemination among his pupils reveals an abundance of readings that give interested organists insights into how perhapsBach’smost famous collection was played at that time.Unfortunately no autograph manuscripts survive regarding the early chorale partitas. However the Foreword helps to solve the ‘riddle’ of how these partitas were handeddown.Links to major sources have been provided in collaboration with the Bach Archive Leipzig and its Bach digital database. The relevant page of the source in question can be accessed quickly and conveniently viashortlinks at http://links.baerenreiter.com. These links are checked for their validity on a regular basis.Urtext of the New Bach EditionComplete new engravingNew detailed Foreword by ChristineBlanken (Ger/Eng)Links to relevant sources in Bach digitalVolume 1 hardback BA5056The Complete Organ Works: The Definitive Edition Now in 11 paperback volumes in a slipcase BA 5279

DKK 336.00
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