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Suiten und Tanzsätze zu 4 Stimmen - Fux, Johann Joseph

Zwei Suiten und 4 Einzelsätze from "Concentus musico instrumentalis 1701" and the Opera "Constanza e Fortezza" for Brass (Trombone Ensemble) Performance score, Anthology brass Hæftet udgave

Organ Preludes by old masters in all keys -

32 Preludes, Preambles, Toccatas, by J. S. Bach, Handel, J. K. F. Fischer, Frescobaldi and other masters Performance score, Anthology Org Hæftet udgave

Nun danket all und bringet Ehr - Wenzel, Eberhard

Choralkantate für mixed Choir, Bläserchor und Gemeindegesang ad lib. score mixed choir-SATB/2Trp/2trombone/congreg. ad lib. Hæftet udgave

Fantasia on All People That on Earth Do Dwell : Op. 109

Fürwahr, er trug unsere Krankheit - Buxtehude, Dietrich

Cantata for Passiontide Behold, he bore all our infirmities part(s) Hæftet udgave

Complete Organ and Keyboard Works - Sweelinck, Jan Pieterszoon

All 8 Volumes as package deal Performance score, Anthology, Urtext edition Org/harpisc./piano Paperback

Moderni Klavirni Etudy

Are studies meant only for practicing? This album of 30 short pieces with original names and amusing illustrations by Andrea Tachezy proves that studies are in no way boring. The edition covers all the keys, with each study solving a specific technical problem while displaying its own character or even telling a little story. With their tuneful melodies and modern sound, these studies amount to miniature recital pieces! “When you play through all the studies, you will be able to find your way through all the major and minor keys and perfect your grasp of musical notation.” (Jakub Metelka)Are studies meant only for practicing? This album of 30 short pieces with original names and amusing illustrations by Andrea Tachezy proves that studies are in no way boring. The edition covers all the keys, with each study solving a specific technical problem while displaying its own character or even telling a little story. With their tuneful melodies and modern sound, these studies amount to miniature recital pieces! “When you play through all the studies, you will be able to find your way through all the major and minor keys and perfect your grasp of musical notation.” (Jakub Metelka)

New Edition of the Complete Works - Froberger, Johann Jacob

Set price for all 11 volumes complete edition, Performance score, score, set of parts, Anthology, Werkve Paperback

Hey Brother for Female Choir

“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed or female choir. The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard. Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each Avicii song within a multi-layered texture.

Concerto For Piano, Violin And Violoncello In C

In Beethoven’s Triple Concerto, a piano trio provides the soloists a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra,but varies his treatment of the solo parts, allowing each instrument to play alone with the orchestra (particularly the cello), using two solo instruments together in ever new combinations, and finally bringing together all threeinstruments with the orchestra. Beethoven weaves a complex web the orchestral, piano, violin and cello voices interplaying and entwining and he produces a true masterpiece. Bärenreiter’s new Urtext edition ofBeethoven’sTriple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions, but with the assistance of three newly-discovered sources, editor Jonathan Del Mar has cleaned up thetext, corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven’s day might have recognized, with all necessary information for directing the piece included inthe solo piano part. Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

Messiah HWV 56 Händel, Georg Friedrich

Messiah occupies a unique position in Handel’s work. Even if it does not represent the absolute zenith several other oratorios could challenge it in this respect its strongly universal characterand directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output.That this oratorio is unquestionably a work of individual character is shownby all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; itsmusicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention.Urtext ofthe Halle Handel EditionFull score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22.5 x 16.5cm (TP175) available for sale.

Messiah HWV 56

Messiah occupies a unique position in Handel’s work. Even if it does not represent the absolute zenith several other oratorios could challenge it in this respect its strongly universal characterand directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output.That this oratorio is unquestionably a work of individual character is shownby all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; itsmusicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention.Urtext ofthe Halle Handel EditionFull score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22.5 x 16.5cm (TP175) available for sale.

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 fullycoherent 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 appendices.Sylvie Bouissou’s new edition differsmarkedly from previous modern editions and all existing recordings. With its appendices she does justice to the performer’s need for Rameau’s various revisions while finally making accessible a version actually authorisedbyRameau. For the first time it is presented in its complete stylistic and dramatic context.Practical vocal score by François Saint-Yves for keyboard accompanimentBased on a reassessment of all sources andversionsDestined to have a clear impact on performances of Rameau’s magnum opusUrtext edition from the Rameau edition 'Opera omnia'.Full score (BA8860) and vocal score (BA8860-90) available forsale.Performance material (BA8860-72) available for hire.

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.

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.

Violin Concerto In D Op.61 - Piano Reduction

Beethoven's famous concerto for Violin and Orchestra has appeared in many editions over the last 150 years, but none has truly done justice to the work. Now, the acclaimed Beethoven scholar Jonathan Del Mar has achieved justthat.Working with all known sources, Del Mar finally presents us with Beethoven's intended solo Violin articulation, dynamics and slurring; there are even note corrections in the solo part. Additions made by variouseditors and violin players over the years have been deleted. For the first time we also now have clarity regarding the meaning of Beethoven's Solo and Tutti markings.All in all, a groundbreaking scholarly-criticaledition;a must have for every violin player, orchestra and music library.

St Mark Passion BWV 247

St Mark Passion (BWV 247): A reconstruction.Recitatives and turbae by Reinhard Keiser (1674-1739).Although all that survives of Bach's “St. Mark Passion” is Picander's libretto, virtually all the arias and chorusescan be reconstructed from “parody” versions. The original recitatives and turbae , however, are probably lost forever. Rather than rewriting these numbers “in Bachs's style”, the editor Austin Harvey Gomme has added passagesfrom Reinhard Keiser's setting of the Passion (a setting highly esteemed by Bach, who performed it several times), thereby allowing this lost work to be performed in its entirety. A detailed preface sheds further light onthisunique reconstruction based on the New Bach Edition.Full score (BA5209) and vocal score (BA5209-90) available for sale.Performance material (BA5209-72) available for hire.

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

Complete Organ Works

Glazunov’s compositions are often noted for their distinctive emotionality and underlying heroic mood. This also applies to the known organ works of this Russian master, all of which bear the characteristic traits of theRussian symphonic style: epic breadth and monumentality as well as a close proximity to folk music, all combined with supreme contrapuntal skill.This Urtext edition contains not only the well-known Prelude and Fugue in Dmajor Op.93 (1906), Prelude and Fugue in D minor Op.98 (1914) and Fantasy Op.110 (1935) but also the Prelude and Fugue in D minor Op.62 (1899), an expressive piano piece presented here in a revised transcription for symphonicorganby B. L. Sabaneyev (1909).- New Urtext edition of the complete organ works plus a historic transcription- Detailed Foreword (Russ/Ger/Eng) and a Critical Commentary (Eng)

Zwei Duette fur Oboe und BratscheorVioloncello : für Oboe und BratscheorVioloncello

“He has very good ideas,” writes Mozart about the excellent Czech oboist, viola da gamba player and composer Josef Fiala (1748 1816) in one of his letters. The compositional heritage of Fiala consists of some 120 pieces,all except one of them instrumental. They include symphonies, concertos and double concertos for various instruments, a number of wind instrument partitas and divertimentos, chamber music pieces for all manner of ensembles, and atotal of 17 duets for diverse instruments, including one work only partially preserved. Half of them were published during the composer’s lifetime. Both of the duets for oboe and viola or cello were written inSalzburgbetween the years 1778 1785. They are revised and introduced by Miloslav Klement. The publication is part of the old Musica Viva Historica series.

Jazz Inspirations for Organ, Vol. 4

Jazz, swing, samba, rhumba and more all found their way to the organ long ago. Not only do the melodies, harmonies and rhythms of these styles enrich the organ’s concert literature, they can also be meaningfullyincorporated in the liturgy. The series “Jazz Inspirations” for Organ offers a delightful and personal combination of many forms and highly contrasting styles at a moderate level of difficulty. Volume 4 presentsa new array of stylistic and thematic focuses: “Funky Praise” and ”Ich lobe dich von ganzer Seelen” (“I praise thee with all my soul”) can be found alongside a “LittleShepherd’sChachacha” and the familiar carol “Kommet, ihr Hirten”. It even contains two compositions from the American organ scene. Jazz, swing and much more for the organ Authoritativeeditors and composers Pieces of a moderate level of difficulty Bilingual Foreword (Ger/Eng)

Concerto For Harpsichord No.5 In F Minor : for Harpsichord and Strings

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 minor, BWV 1056, is the fifth of the harpsichord concertos contained inthe autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek, Mus. ms. Bach P 234). It is one of those harpsichord concertos that reveal themselves to be transcriptions even though the original model isnowlost.- Urtext of the New Bach Edition- Full score & parts (BA5228), two-keyboard reduction (BA5228-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

Cantata BWV 12 Weinen, Klagen, Sorgen, Zagen : Cantata for the Sunday Jubilate

Weinen, Klagen, Sorgen, Zagen (Weeping, crying, sorrow, sighing) BWV 12Cantata for the Sunday Jubilate These editions of Bach Cantatas offer the authoritative text of the New BachEdition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bachwas required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrationsandroyal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still asrelevant today as it was then. - Performance material vocal score & study score available for sale

Early Organ Works / Fragments : Early Organ Works/Fragments

Bärenreiter has joined forces with the International César Franck Society to produce a five-volume complete edition of the organ works of César Franck. In addition to all accessible sources, it draws on previously neglectedmanuscripts, making it possible to offer a reliable musical text based on meticulous text-critical comparisons. Text variants, cases of doubt and editorial decisions are recorded in a comprehensive CriticalCommentary.Volume 1, edited by Christiane Strucken-Paland, is the first publication to contain all of Franck’s surviving early organ works, fragments and variants. Special attention has been given to his largest earlywork,the Fantasy in A major, which was left unpublished during his lifetime and only resurfaced a few years ago. Here Franck already displays his consummate mastery of thematic development.Organ works at the forefrontof Franck scholarshipForeword (Fr/Eng/Ger) and comprehensive Critical Commentary (Eng)With facsimile illustrations

Mass for Double Choir A Cappella

- Taking into account a radio recording from 1970 in which the composer was involved - Detailed Foreword on the genesis of the work and its reception (Ger/Eng) as well as a Critical Commentary (Eng) This edition of Frank Martin’s mass is a scholarly-critical as well as a performing edition that takes all sources into account. As a matter of fact, it was only during the research for this edition that a previously unknown source was discovered and evaluated – a radio recording of the mass, which was produced in 1970 by the Dutch NCRV Vocaal Ensemble with the participation of the composer. The project also included the first public performance of the work, which took place shortly afterwards in the presence of the composer and may have inspired him to make later changes. Martin’s manuscripts from the 1920s, as he repeatedly emphasised, were never intended for publication and were laid aside for 40 years. After the 1970 production, Martin was also involved in the preparation of the 1972 first edition, with which he was very satisfied. On the basis of extensive research into the genesis and performance history of the mass, all sources were re-evaluated in order to present a musical text that corresponds as closely as possible to Martin's intentions whilst meeting all the requirements of the performers.