Recent Publications of Orchestral Full Scores, Study Scores and Performance Materials
Jean Sibelius
Lemminkäinen and the Maidens on the Island Op. 22/1
The Swan of Tuonela Op. 22/2
Lemminkäinen in Tuonela Op. 22/3
Lemminkäinen's Return Op. 22/4
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Breitkopf Urtext
Edited by Tuija Wicklund Little is known about the actual composition process of Lemminkäinen, and the performance and publication history is rather complex, resulting in a first complete printing of all four movements en suite through the complete edition of Jean Sibelius Works only in 2013. In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: “I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet.” As a result he abandoned his opera plans, but musical parts may have found their way into the Lemminkäinen pieces which he started composing during that time. Lemminkäinen became popular from the beginning and has attained a fixed position in the concert repertoire. A critic opined on Lemminkäinen and the Maidens on the Island: “We do not hesitate to award this tone painting of Lemminkäinen’s erotic emotional world the first prize among all the young composer’s works.” The overture is now known and loved as “The Swan of Tuonela”. Sibelius said about Lemminkäinen in Tuonela: “The cradle song at the end of the work is maternal love, which rakes the pieces of Lemminkäinen together from the River Tuonela.” On Lemminkäinen’s Return Sibelius commented: “I would like to see more pride in us Finns. Why should we be ashamed? This is the underlying thought in Lemminkäinen’s Return. Lemminkäinen is just as good as the noblest of earls. He is an aristocrat, without question an aristocrat!” These editions are based on the Complete Edition “Jean Sibelius Works” (JSW) PB 5582, PB 5583, PB 5584, PB 5585 Full scores on sale Performance Materials on hire through Clear Music |
Camille Saint-Saëns
Danse macabre op. 40
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Bärenreiter Urtext
Edited by Hugh Macdonald Saint-Saëns was a great admirer of the symphonic poems by Franz Liszt. His own symphonic poem “Danse macabre” reflects not only his affinity to medieval superstitions but also constitutes a tribute to Liszt’s “Totentanz”. “Danse macabre” is based on the eponymous song Saint-Saëns composed in 1872 after Henri Cazalis’ poem. At its premiere, the work was not well-received; in fact it was booed, possibly due to the “diabolic” solo violin playing on an E-string that was tuned down to E-flat, which the audience might have misinterpreted as being out of tune. However within ten years the work had become so popular that Saint-Saëns quoted some of its musical themes in “The Carnival of the Animals”. Since the composer’s death, “Danse macabre” is among the works most often mentioned in connection with the theatrical face of death found in popular mortuary cult. Performing Score and Set of Parts on sale |
Johannes Brahms
Serenade No. 2 in A major Op. 16
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Breitkopf Urtext in cooperation with
G. Henle Verlag Edited by Michael Musgrave During his time as conductor of the Detmold court orchestra, the young Brahms was inspired by the local wind ensemble to compose two serenades. Serenade No. 2, scored for five pairs of winds, violas, cellos, and string basses (leaving out the violins) is strongly reminiscent in sound of Mozart’s wind serenades. The expressive Adagio is the heart of the five-movement work. Quite untypical of Brahms, he acquired a liking for the work from the outset, still undertaking a revision scarcely 15 years after the premiere of 1860; this has now been made available in a new practical edition based on the Johannes Brahms Complete Edition (JBG). Full Score and Performing Materials on sale |
Bedrich Smetana
Vyšehrad
from: Má vlast (My Country)
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Bärenreiter Urtext Edited by Hugh Macdonald In late September 1874, shortly after losing his hearing, Smetana started work on “Vyšehrad”, the first symphonic poem in what would become a six-part cycle with the title “Má vlast” (My Country). It tells the eventful history of this fort in Prague. “Vyšehrad” was published by Urbánek together with “Vltava” (The Moldau), the next part in the cycle, in a version for piano duet in December 1879. The full score and parts, proofread by the composer, followed in February 1880. Hugh Macdonald has corrected many errors in this first edition. He draws on the autograph and first print of the orchestral version and also refers to the autograph and printed piano duet version. Full Score on sale. Performing Materials on hire through Clear Music |
Joseph Haydn
Symphony in C minor Hob I:78
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Bärenreiter Urtext in cooperation with
G. Henle Verlag Edited by Sonja Gerlach, and Sterling E. Murray Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies” as they are stylistically closely linked to “the London Bach”, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirend”, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form. Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang” symphonies as well as the complete London and Paris symphonies. Full Score and Performing Materials on sale |
Max Bruch
Kol Nidrei op. 47 for Violoncello and Orchestra
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Henle Urtext
Edited by Annette Oppermann Aside from his popular Violin Concerto no. 1, “Kol Nidrei” numbers among Max Bruch’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “Kol Nidrei” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “Kol Nidrei” appears for the first time in an Urtext edition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part. Piano Reduction with marked and unmarked string solo part on sale |
Max Bruch
Violin Concerto No. 1 in G minor Op. 26
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Breitkopf & Härtel in cooperation with G. Henle Verlag
Edited by Michael Kube Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the “Breitkopf Urtext” edition, one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote “3, 4 development sections in the finale,” and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: “Have I written nothing but this one concerto?” The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work. Full Score, Piano Reduction and Performing materials on sale |
Camille Saint-Saëns
Introduction et Rondo capriccioso op. 28
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Breitkopf & Härtel in cooperation with
G. Henle Verlag Edited by Peter Jost Many well-known violinists such as the dedicatee Pablo de Sarasate, together later with Eugène Ysaye and Jacques Thibaud, included in their repertoires Camille Saint-Saëns’ concert piece composed in 1863. Even today, concert life is hard to imagine without the Introduction et Rondo capriccioso. The highly virtuosic work already inspired critics and audiences during the composer’s lifetime; reported about the premiere in 1867 was: “The Introduction and the Rondo capriccioso for the same instrument are both original and charming, and Maestro Sarasate, who was in his element here, admirably made the most of it.” And a few years later, a music critic described the work as “a kind of fantasy waltz in the Spanish style and with a most bewitching effect.” After the first performances in 1867, despite success, the work’s score and orchestral parts had little chance of publication due to concert companies’ reluctance. In 1869 the Paris publishing house G. Hartmann merely published an arrangement for violin and piano produced by the composer’s friend Georges Bizet. The orchestral score and parts were first published after the Paris publishing house Durand had acquired publication rights in 1875. The present edition published in collaboration with the G. Henle Verlag is the first critical edition of the work. Full Score, Piano Reduction and Performing Materials on sale |
Georg Philipp Telemann
Festive Music for Altona
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Bärenreiter Urtext
Edited by Jürgen Neubacher The volume presents, as a first edition, Telemann’s surviving compositions for a number of public occasions in Altona. It contains two festive compositions written for the inauguration of the Akademische Gymnasium in 1744, one piece composed for the centennial of the Absolute and Hereditary Monarchy Act in Denmark (1760), one Latin ode to the King of Denmark for a school festivity in Altona, and an excerpt of two arias – the only surviving part of the music composed for the inauguration of Elias Caspar Reichard as Professor of Eloquence and Poetry at the Akademische Gymnasium (1741). The edition was prepared on the basis of the known sources held at the Brussels Conservatory Library, new manuscripts contained in a rediscovered anthology of the Hamburg State Library including those previously unknown compositions, as well as printed texts which had not been considered to date from the Royal Library in Copenhagen. The Foreword provides information regarding Telemann’s tenure in Altona. Also included is a catalogue of all related works. Moreover the volume contains a Critical Commentary, facsimiles of the printed texts and sample pages from the musical sources. Cloth-Bound Complete Edition Full Score on sale |
Antonín Dvorák
Slavonic Rhapsodies
published as 3 separate works
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Bärenreiter Urtext
Edited by Jonathan Del Mar Dvorák composed his “Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called “Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number. Bärenreiter has published all three full scores and the complete performance materials for the 3 Slavonic Rhapsodies. Please contact us at Clear Music Australia for more information Full Scores and Performing Materials on sale |
Joseph Haydn
Symphony in D minor Hob. I:80
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Bärenreiter Urtext
Edited by Sonja Gerlach & Sterling E. Murray Along with Symphonies Nos. 79 and 81, Haydn’s D-minor Symphony Hob. I:80 belongs to a set of symphonies that he completed in late 1784. He wrote them for his employer Prince Nikolaus Esterházy, his task being to entertain the prince with new music. The symphonies had to be suitable for the twenty-five to thirty musicians who were in the prince’s orchestra. Continuing the cooperation between Bärenreiter and Henle regarding Haydn’s large choral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn” Bärenreiter has also published the complete performance materials for several “Sturm und Drang” symphonies and all the London and Paris symphonies. Please contact us at Clear Music Australia for more information on the other Haydn Symphonies already published. Full Score and Performing Materials on sale |
Joseph Haydn - Symphony G major Hob. I:81
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Bärenreiter Verlag in collaboration
with G. Henle Verlag Edited by Sonja Gerlach and Sterling E. Murray Haydn’s Symphony in G major Hob. I:81 comes from a series of three symphonies completed in late 1784 (nos. 81, 80 and 79, presumably in that order). No autograph score survives for Hob. I:81, so this Urtext edition is based on copyists’ manuscripts and first editions. As with so many of his symphonies, Haydn wrote this one to provide new music for his employer, Prince Nikolaus Esterházy. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. Bärenreiter has now published the complete performance material for several Sturm und Drang symphonies and all the London and Paris symphonies (Nos. 81 to 104). Full Score and Performing Materials on sale |
Joseph Haydn - Symphony C major Hob. I:90
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Bärenreiter Urtext in collaboration with Henle Verlag
Edited by Andreas Friesenhagen Haydn’s Symphony in C major Hob. I: 90, dated 1788 in the autograph, belongs to a group of works that he composed between the Paris symphonies (Hob. I: 82–87) and the London symphonies (Hob. I: 93–104). It thus belongs to the last symphonies he wrote before his journeys to England in 1791–92 and 1794–95. Continuing the collaboration between Bärenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn. With Symphony No. 90, Bärenreiter has now published the complete performance material for all the symphonies from Nos. 82 to 104 as well as several Sturm und Drang symphonies. Full Score and Performance Materials on sale |
Georges Bizet- L'Arlésienne Suite No. 2
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Breitkopf Urtext
Edited by Lesley A. Wright The story of Alphonse Daudet’s drama L’Arlésienne to which Georges Bizet composed several pieces in 1872 focuses on the story of love and suicide and was inspired by true events. The musical drama had flopped at its premiere, but the suite that Bizet arranged shortly afterwards from its stage music enjoys great popularity to this very day. After Bizet’s death, his friend Ernest Guiraud put together four more movements of themes and motives by Bizet for a second suite establishing a musical connection to Provence und Arles especially in the outer movements, the Pastorale and the effective Fandarole. With this edition, Breitkopf & Härtel continues its successful collaboration with Eulenburg. L'Arlésienne Suite No. 1 also available Full Score, Study Score and Performing Materials on sale |
James MacMillan - Viola Concerto
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Boosey and Hawkes
Commissioned by the London Philharmonic Orchestra, Luzerner Sinfonieorchester, Bergen Philharmonic Orchestra and Adelaide Symphony Orchestra, and first performed in 2013 by Lawrence Power with the LPO, conducted by Vladimir Jurowski. Cast in three contrasting movements the work is expressive, energetic and highly virtuosic, culminating in a breathless Allegro pitting the soloist against the orchestra. A major addition to the canon of concertante works by this composer, and to the viola repertoire in general. Piano Reduction on sale, Performing Materials on hire |
Antonín Dvorák - Slavonic Rhapsody No. 1 in D major Op. 45
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Bärenreiter Urtext
Edited by Robert Simon Dvorák’s “Slavonic Rhapsodies” Op. 45 were composed in 1878 and issued by the publisher Simrock, Berlin the following year. These three independent orchestral works (in D major, G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period. The “Slavonic Rhapsody” op. 45/1 in D major now appears in an Urtext edition. The editor has made use of the first edition, authorised by the composer, as the principal source of his new scholarly-critical edition. Full Score and Performance Materials on sale |
Maurice Ravel - Valses nobles et sentimentales
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Breitkopf Urtext
Edited by Jean-François Monnard “À l’exemple de Schubert” – Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century. Ravel needed only two weeks of intensive concentration to orchestrate his piano suite “Valses nobles et sentimentales”, which was given its premiere performance in March 1911. Consisting of seven waltzes and one epilogue, the work stamped Ravel as a creative personality whose masterpiece breathed an “unbelievably new kind of musicality and incredibly intensive poetry.” Let us not forget that this was twelve years before “La Valse,” with which it shares a number of similarities. The new edition of the complete performance material in Breitkopf’s Urtext series was prepared by the Ravel expert Jean-François Monnard, thus continuing his series of orchestral works by the French composer. Full Score on sale Performing Materials in preparation and will be available on hire through Clear Music |
Modest Mussorgsky arr. Ravel - Pictures at an Exhibition
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Breitkopf Urtext
Edited by Jean-François Monnard Ravel’s brilliant compositional interpretation of Pictures at an Exhibition is to this day, the most famous orchestration of Mussorgsky’s masterpiece. When the French composer turned his attention to his Russian colleague’s piano cycle in 1922, he was at the height of his mastery and Paris was enraptured by Russian music. Notated with remarkable accuracy in an autograph score, Ravel’s orchestration was an audience favourite from the very start. The new edition not only eliminates many previously undiscovered errors, but also offers a wealth of practical information on the long and multi-faceted performance history of the work, including the metronome markings of great conductors who were connected to the work in a very special manner. Full Score, Study Score on sale. Performing Materials on hire through Clear Music |
Jean Sibelius (1865-1957) - Complete Works, Series III (Works for String Orchestra) Vol. 1
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Breitkopf Urtext
Edited By Pekka Helasvuo and Tuija Wicklund Jean Sibelius wrote eight works for string orchestra in close to 45 years. Most of these are either arrangements of earlier compositions or were composed in conjunction with a piano version. One exception is the artistic Romanze in C op. 42 of only five minutes duration, which Sibelius composed presumably in 1904 specifically for string orchestra. Breitkopf & Härtel first published the popular and often-played piece for strings in 1909. The present volume III/1 of the complete edition of the “Jean Sibelius Works” contains all the works by Sibelius for string orchestra, including three first publications. Contains Op. 4, 5/5, 5/6, 14, 42, 98a, 98b,100, JS 34b Cloth-Bound Full Score on sale |
Gabriel Fauré - The Complete Works, Series IV Vol. 3: Works for Solo Instrument and Orchestra
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Bärenreiter Urtext
Edited by Peter Jost Contains: Berceuse for violin and orchestra op. 16 N 50b Ballade for piano and orchestra op. 19 N 56b Élégie for violoncello and orchestra op. 24 N 66b Romance for violin and orchestra op. 28 N 71b (Orchestration by Philippe Gaubert) Fantaisie for piano and orchestra op. 111 N 184b (Orchestration by Marcel Samuel-Rousseau) Concerto for violin and orchestra op. 14 N 47 Berceuse for violin and orchestra (original version) |
Gabriel Fauré - The Complete Works, Series IV, Vol. 2: Orchestral Works 2
Jean-Philippe Rameau - Les Indes galantes RCT 44: Symphonies (Version 1736)
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Edited by Sylvie Bouissou
The new scholarly-critical edition of the score of Rameau’s “ballet héroïque” Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc généreux, Les Incas du Pérou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet héroïque” was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Pérou and Les Sauvages (1751–73). With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance. Full Score on Sale. Performance Materials on hire from Clear Music |
Antonín Dvorák - Concerto for Violin and Orchestra A minor Op. 53
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Bärenreiter Urtext
Edited by Iacopo Cividini Dvorák’s Violin Concerto was composed between 1879 and 1882, with the active assistance of Joseph Joachim, and was issued by the publisher Fritz Simrock, Berlin in 1883. Its premiere took place in October of that same year with František Ondrícek as soloist. This new Urtext edition is based on the first edition (score, solo violin part, piano reduction and orchestral parts). It also takes Dvorák’s autograph which served as a master copy for the engraving into consideration. A fresh assessment of Dvorák’s manuscript made it possible to reconstruct several variants ignored in the first and subsequent editions and to clarify ambiguities in the notation and articulation. An important component of Bärenreiter's Urtext edition is the original piano reduction, which probably stems from Dvorák himself, and in which Joseph Joachim’s fingering is published. Full Score, Piano Reduction and Set of Parts on sale |
Joseph Haydn - Symphony in G major Hob. I:88
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Bärenreiter and Henle Collaboration
Edited by Andreas Friesenhagen This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly. Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scale choral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn”. The complete performance materials for several “Sturm und Drang” symphonies and all of the London and Paris symphonies are now available from Bärenreiter. Full Score and Set of Parts on sale |
Antonín Dvořák - Symphony No. 9 in E minor Op. 95
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Breitkopf Urtext
edited by Christian Rudolf Riedel Dvořák’s Symphony From the New World, considered his “opus summum” by many, is one the most widely performed of all symphonies. The edition already published in 1990 by Breitkopf & Härtel has been established internationally as an authoritative edition not least because it is based on parts first used in the 1893 New York premiere. This very revealing source had until then been considered lost. The new edition now published in large orchestral format (25.0 x 32.0 cm), still has in store, however, quite a few further additions and improvements: the problems of page turns in the earlier editions have been solved, and the trombone parts I/II notated to date in the alto clef (as done by Dvořák) are reproduced according to present-day orchestral practice in the tenor clef. Full Score, Study Score and Set of Parts on sale Full Score, Study Score and Set of Parts on sale |
Edvard Grieg - From Holberg's Time Op. 40
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In 1884 the Norwegian city of Bergen celebrated the 200th birthday of Ludvig Holberg, one of its most famous sons and a symbolic figure of the late Baroque era. For this occasion Grieg wrote the piano suite Aus Holbergs Zeit, which he orchestrated for string orchestra. To this day, the Suite – particularly in this arrangement – ranks among Grieg’s most popular works. By using the romantic string sound, Grieg brings the late Baroque orchestral suite and its various dance forms to life again.
Along with the string serenades of Dvorak and Tchaikovsky, Aus Holbergs Zeit is regarded as the third great late-romantic work for string orchestra. Breitkopf is currently preparing the release of new and complete performance material in the framework of its cooperation with Eulenburg. Full Score and Set of Parts on sale |
Igor Stravinsky - Funeral Song Op. 5
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Boosey and Hawkes
The music of Igor Stravinsky's Funeral Song Op.5, composed by the young composer as an orchestral memorial to his teacher Nikolai Rimsky-Korsakov, disappeared after just one performance in 1909. Following its rediscovery in 2015 and world premiere in St Petersburg last December, orchestras around the world have swiftly added Funeral Song into their current seasons. The Funeral Song score has been reconstructed from the complete set of parts by Dr. Natalia Braginskaya and the St Petersburg Conservatory in collaboration with Stravinsky’s publisher, Boosey & Hawkes. This new addition to the iconic Hawkes Pocket Score range provides a unique insight into the music of the young Stravinsky, before he found international success with his ballet The Firebird. The Hawkes Pocket Score edition of Stravinsky’s Funeral Song, Op.5 is an essential addition to the collections of all musicologists, scholars, students and music lovers. A conductor score of Funeral Song is scheduled for release later this year. Study Score on sale |
Camille Saint-Saëns - Symphony No. 3 (Organ Symphony)
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Bärenreiter Urtext
Edited by Michael Stegemann “In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of “Camille Saint-Saëns - Complete Edition of the Instrumental Works”. This performing Urtext edition is based on volume BA 10303 from that series. |
Dmitri Shostakovich - The Nose - Suite Op. 15a (1927-28)
Kurt Weill - Concerto for Violin and Wind Orchestra Op. 12
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Universal Edition
Kurt Weill developed his creative energies mainly within the world of musical theatre, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra Op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010) Study Score and Piano Reduction on sale |
Maurice Ravel - Concerto for the Left Hand for Piano and Orchestra
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Bärenreiter Urtext
Edited by Douglas Woodfull-Harris In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel’s Piano Concerto for the Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolution from Ravel’s autograph working copy to the first printed edition. A source of key importance to Bärenreiter's new edition is a handwritten French copy of Ravel’s own piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo piano part. Full Score, Piano Reduction and Set of Parts on sale |
Einojuhani Rautavaara - Flute Concerto Op. 69 'Dances with the Winds'
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Breitkopf Urtext
“The flute concerto ‘Dances with the Winds’ was composed in 1974 for the Swedish flautist Gunilla von Bohr, a specialist in all members of the flute family. The ordinary flute thus alternates with a bass flute at the beginning and end of the four-movement concerto, the second movement is assigned to the shrill piccolo and the third to the sensuous alto flute. The last movement is a summary of all the musical events in the concerto. At the end the bass flute soars to the top of its register, the note D acting as the pivot to many of the symmetries in the work, against a resigned B flat minor chord on the orchestra.” (Einojuhani Rautavaara) Full Score on sale, Piano Reduction in preparation, Performance Materials available on hire through Clear Music |
Louis Spohr - Clarinet Concerto No. 1 in c minor op. 26
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Breitkopf Urtext
in cooperation with G. Henle Verlag Edited by Ullrich Scheideler Louis Spohr’s First Clarinet Concerto was written in winter 1808/09, at a time when the clarinet had just established itself as an orchestral and solo instrument. The concertos of Spohr and Weber which we know today and which date from these “pioneer days” around 1810 are due to the in-depth collaboration between composer and performer. Spohr wrote his technically very demanding clarinet concertos for the virtuoso Johann Simon Hermstedt. After the first successful performances, the composer decided to simplify the solo part for the printed edition. The “Breitkopf Urtext” edition is based on the autograph of the score and the first printing of the parts, which frequently differ from it. In the solo part, we have kept the easier variants along with the original version. Full Score, Piano Reduction and Set of Parts on sale |
Johannes Brahms - Piano Concerto No. 2 in B flat major Op. 83
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Breitkopf Urtext
Edited by Johannes Behr Johannes Brahms enjoyed a bit of understatement every now and then, and whenever his second piano concerto was the object of discussion, he called it his “little” concerto – although it was more than clear that, with its four movements (including Scherzo), he was giving his contemporaries something truly symphonic to chew on. The press didn't hesitate long: soon it was being derisively called “piano symphony,” which, however, did nothing to prevent its popularity. Brahms himself and other pianists played the work everywhere in the 1880s, and the piano reduction was so successful that it had to be reprinted three times within three months after its first printing. The Urtext edition follows the text of the respective volume in the Brahms Complete Edition published in 2013. It takes the first printing of the score as the main source; moreover, both the autograph as well as the printed reduction provided further information with which engraving errors of the first edition could be corrected. Full Score, Study Score, 2-piano score and Set of Parts on sale |
Bohuslav Martinu - Concerto for Violin and Orchestra No. 2 H 293
Piano Reduction
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Bärenreiter Urtext
Edited by Karel Šolc After hearing the Boston Symphony Orchestra perform Martinu’s Symphony No. 1 in New York, Mischa Elman commissioned the composer to write a violin concerto for him. Martinu thereupon composed his Second Violin Concerto in 1943. That same year Elman played the solo part at the première, with Sergei Koussevitzky conducting the Boston Symphony Orchestra. This piano reduction is based on the musical text of the first edition. The solo part has been revised by a leading Czech violinist and performer of Martinu’s music. • Major violin concerto of the 20th century • New Foreword by Martinu scholar Sandra Bergmannová (Cz/Eng/Ger) Piano Reduction on sale |
Antonín Dvorák
Concerto for Violoncello and Orchestra in b minor Op. 104
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Bärenreiter Urtext
Edited by Jonathan Del Mar This study score is based on the score and complete performance material of Dvorák’s famous b minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny. Like every other major 19th-century cello concerto, Dvorák’s concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák’s autograph were written by the cellist Hanus Wihan but Bärenreiter’s edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák’s definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. Full Score, Study Score and Performance Materials on sale |
Charles-Marie Widor - Ouverture Portugaise for organ concertante, wind ensemble and orchestra
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Crescendo Music Publications
Harold Fabrikant and Daniel Mitterdorfer have recently uncovered what they believe to be the earliest extant composition by Charles-Marie Widor (1844-1937), written in 1865 during a visit to Portugal. The Ouverture Portugaise, for organ, wind ensemble and orchestra, was premiered at the International Exposition in Porto, where the young Widor was engaged each day to demonstrate the J. W. Walker organ. According to his memoirs, Widor destroyed his copy of the work some years after composing it, believing it to be so immature it was unworthy of publication. However another copy of the full score exists in the collection of the Portuguese royal family by virtue of its dedicatee, King Luiz I, in the Biblioteca da Ajuda, Portugal. The instrumental forces required to perform the work, though unusual in their combination, are well-balanced and the work clearly shows Widor's budding skill as a composer able to create an almost-20-minute-long symphonic work. In creating the first published edition of the Ouverture, the editors have prepared a substantial preface and a full list of all editorial corrections and changes. Full Score and Performance Materials on sale |
Ralph Vaughan Williams - Symphony No. 3 (Pastoral)
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Faber Music
A heartfelt and subtly beautiful tribute to the dead of the First World War, Vaughan Williams’ Third Symphony is amongst his most powerful works. Misunderstood at its premiere in 1922, the haunting 35-minute elegy is almost entirely quiet and contemplative, though beneath its tranquillity lays a deep sadness. In the second movement a lone trumpet calls over a bleak and desolate landscape whilst the fourth and final movement is framed by a wordless lament for solo soprano. Faber Music publishes this long-awaited hardback critical edition Critical-Edition, Hardback Score on sale |
Robert Schumann - Genoveva
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Breitkopf Urtext
Edited by Christian Rudolf Riedel Robert Schumann placed great importance on the genre of the "overture," as can be seen in the chronology of the genesis of his sole opera Genoveva. In his "Haushaltbuch" the composer entered as his first idea "thoughts of an overture," then produced the score even before having begun working on the actual opera. Schumann was right on the mark when he suspected that "the overture alone should enjoy a favourable reception." The Overture appeared in print at about the same time that the opera was premiered. It established itself in the concert hall as an autonomous work and ranks today, along with the Manfred Overture, among Schumann's most beloved concert overtures. The Genoveva Overture is being released in a text-critical Breitkopf Urtext edition for the first time. The main source is the first printing revised by Schumann. Full Score and Set of Parts on sale |
John Adams - Saxophone Concerto
for alto saxophone
Josef Strauss - Peine du coeur (Liebesgram)
Gustav Mahler: Symphony No. 10
Completed by Yoel Gamzou
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Schott Music Gustav Mahler’s Symphony No. 10 is the last and only unfinished symphony in his complete oeuvre. On 5 September 1910 Mahler wrote his last notes: exactly 100 years later, the 23-year-old conductor and composer Yoel Gamzou presented with great success his new reconstruction of this extraordinary work. The World Première with the International Mahler Orchestra took place at the Ryckestrasse synagogue in Berlin as part of the Jewish Cultural Days 2010. |
Antonín Dvorák: Serenade for String Orchestra E major Op. 22
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Bärenreiter Urtext
Edited by Robin Tait Dvorák’s “Serenade in E major” for string orchestra is one of his most popular and frequently played works. It was written in the spring of 1875, when he had just experienced his first successes at the conductor’s podium and had received a state arts scholarship. The score and parts were published by Bote & Bock, Berlin, in 1879. This Urtext edition is based on the composer’s autograph score. It corrects mistakes found in the first edition and so, for the first time, the editor incorporates omitted passages from the autograph, marking them with “Vi-de”. This reconstruction makes it possible to clarify the piece’s structure. The author of the Foreword, Katerina Nová, is head of the Dvorák Museum in Prague. Full Score and Performing Materials on sale • Detailed Foreword by Katerina Nová (Cz/Eng/Ger) and Critical Commentary by the editor (Eng) • Including “Vi-de” passages from the autograph score |
Henry Vieuxtemps: Violin Concerto No. 5 in a minor Op. 37
(piano reduction)
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Henle Urtext
Edited by Ray Iwazumi Amongst Vieuxtemps’ seven violin concertos, the fifth in a minor is doubtlessly the best known and most popular by far. It was composed in 1860/61 as an obligatory examination piece for the violin class of his friend Hubert Léonard at the Brussels Conservatory, but then soon made its way into the concert hall. It owes its popularity not only to the brilliant violin part but also to the unusual form of the three movements that merge into one another without interruption. The violinist and musicologist Ray Iwazumi is not only the editor of our edition but also undertook the bowings for the solo part. The preface was penned by the Belgian expert on Vieuxtemps, Marie Cornaz. Piano reduction on sale (Original cadenza no. 1 also in a version by Eugène Ysaÿe) |
Béla Bartók: The Miraculous Mandarin op. 19 (Concert Version)
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Pantomime in one act on the libretto by Menyhért Lengyel
Universal Edition 'In the Mandarin he finally breaks with the romantic tradition and also turns away from the artistic endeavours typical of the turn of the century. The pantomime reflects for the first time what Bartók had learnt from folk music, refined into a personal expression, an individual phraseology. He consciously settles a score with the ideology and the style of his youth.' György Kroó Full Score on sale. Also available is a Piano Reduction, a Piano Reduction for 4 Hands, and a Study Score |
Ralph Vaughan Williams (arr. Adrian Williams): A Road All Paved with Stars
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Oxford University Press
Jointly commissioned by The Vaughan Williams Charitable Trust and Oxford University Press, 'A Road All Paved with Stars' is a single-movement orchestral work incorporating the finest music of Vaughan Williams's opera The Poisoned Kiss. Using material from the most memorable songs and sections, including 'Blue larkspur in a garden', 'Love breaks all rules', and of course the 'Kiss' climax and its aftermath, Adrian Williams has created an orchestral synthesis befitting the composer's own musical vision. Study Score on sale |
Francesco Geminiani: 6 Concertos Op. 7 (H. 115-120)
Max Bruch: Violin Concerto No. 1 in g minor, Op. 26
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Breitkopf Urtext
Edited by Michael Kube Bruch's evergreen for the first time in Urtext Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto No. 1 zipped onto the road to success and has never left it since. Yet from the preface of the "Breitkopf Urtext" edition, one can infer how things looked behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote "3, 4 development sections in the finale," and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done, Bruch suffered under the work's popularity: "Have I written nothing but this one concerto?" The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work. Full Score, Piano Reduction and Performance Materials on sale |
Einojuhani Rautavaara: Piano Concerto Op. 45
Franz Joseph Haydn: Symphony No. 92 in G Major, "Oxford"
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Joint Bärenreiter and Henle Urtext Edition
Edited by Andreas Friesenhagen Like its companions Nos. 90 and 91, Haydn’s Symphony No. 92 in G major was written in 1789. All three symphonies were commissioned in 1788 by Prince Kraft Ernst von Oettingen-Wallerstein, who was to be granted exclusive ownership. However, Haydn first sold the works to the Parisian Masonic lodge Société Olympique and was thus unable to fulfil his obligation to send the autograph scores to the prince. The symphony received its nickname “Oxford” in the 19th century, probably in connection with a performance that took place when Haydn received an honorary doctorate from Oxford University in 1791. This edition continues the collaboration between Bärenreiter and the Henle publishing company regarding Haydn’s large-scale choral works, operas and symphonies. It is based on the Henle Complete Edition of the “Works of Joseph Haydn”. Bärenreiter has published the complete performance material for several “Sturm und Drang” symphonies and all of the London and Paris symphonies. Full Score and Set of Parts on sale |
Antonín Dvořák: Symphony No. 7
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Bärenreiter Urtext Edition
Edited by Jonathan Del Mar Dvořák’s Seventh Symphony was commissioned by the Royal Philharmonic Society in August 1883 and premiered in London under the composer’s baton on 22 April 1885. Two months laterhe shortened the second movement by about 40 bars. The work was published by Simrock in this form in 1885. In 2013 Bärenreiter published the score and orchestral parts in the first scholarly-critical edition of Dvořák’s Seventh Symphony (BA 10417). Now it is being issued in a study score edition. The editor, Jonathan Del Mar, has already won international acclaim for his editions of the Dvořák Cello Concerto (BA 9045) as well as of works by Beethoven and Elgar. He has taken every source into account, including the extant correspondence. Like the score and parts, this study score edition presents the original version of the second movement in the appendix. Dvořák scholar Jan Smaczny has added a new Foreword. Full Score, Study Score and Set of Parts on sale |
Johann Baptist Vanhal - Concerto for Double Bass and Orchestra
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Breitkopf Urtext in association with G. Henle Verlag
Edited by Tobias Glöckler The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for Breitkopf to publish the work in an Urtext edition. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well. Full Score and Set of Parts on sale Reduction for Piano and Double Bass in preparation |
Ralph Vaughan Williams - Symphony No. 5
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Oxford University Press
Edited by Peter Horton A new edition of Vaughan Williams's much-loved symphony, published as part of the 2008 anniversary celebrations (50th since death). Contains an introduction by the Vaughan Williams scholar Michael Kennedy and textual notes. Matching, newly engraved orchestral parts will be available on hire. Hardback Full Score and Soft-Cover Study Score on sale |
William Walton - Viola Concerto
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Oxford University Press
Edited by Christopher Wellington This volume prints both of Walton's orchestrations: his initial scoring (1929) and his reduced orchestration of 1962. It also for the first time restores the solo part as edited by Frederick Riddle, an early soloist and champion of the work, who devised numerous idiomatic phrasings and bowings with the approval of the composer. The volume is completed by critical notes, facsimiles, and an introduction. Critical Edition Cloth-Bound Full Score for the original 1929 and revised 1962 version on sale. Study Score for the revised 1962 version also on sale Parts for both versions are available on hire |
Ralph Vaughan Williams - Scenes from Bunyan’s Pilgrim’s Progress
For Five Vocal Soloists, Choruses, Guitar & Strings
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Promethean Editions
Edited by Nathaniel Lew The editor writes: “John Bunyan’s allegorical Christian novel The Pilgrim’s Progress was a consistent and primary source of inspiration for Ralph Vaughan Williams. The composer knew the book’s contents intimately, and returned to it repeatedly for a series of works that span much of his career. These include the 1922 one-act chamber opera (or ‘pastoral episode’) entitled The Shepherds of the Delectable Mountains, the 1940 anthem ‘Valiant-for-Truth,’ the incidental music to Edward Sackville-West’s 1943 radio production of the book, and the full-length opera (or ‘morality’) completed in 1951, which in turn provided material for the Fifth Symphony of 1943. The incidental music composed for a community theatrical production of part one of Bunyan’s book in Reigate, Surrey, preceded all these works and, despite its modest nature, served as a dramatic model and reservoir of musical ideas for them. It was also the source of the 1910 Tallis Fantasia.” Published for the first time, Scenes Adapted from Bunyan’s Pilgrim’s Progress contains the complete script and extant musical numbers from the 1907 and 1908 productions in London. This publication is edited and considered for modern readers and performers. The script is restored and clarified, and includes detailed music cues. The score draws on several primary sources, and existing gaps are filled with additional music selections and fabrications in the Appendix. In the preface, Nathaniel Lew explains the sources and editorial decisions leading to this publication, all of which makes for both a scholarly and practical work Study Score on sale |
Douglas Lilburn - Drysdale Overture
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Promethean Editions
Drysdale Overture is Lilburn’s first major orchestral work. It was written while he was a student under the aegis of Vaughan Williams at the Royal College of Music in London. The work won first prize at the New Zealand National Centennial Competition in 1940 and has more recently become established as a staple of orchestral repertoire with regular performances and recordings presented by the New Zealand Symphony Orchestra. This edition is the first of four volumes published in celebration of the centenary of Lilburn’s birth in 1915. Study Score on sale |
Ralph Vaughan Williams - Symphony No. 7 - Sinfonia Antartica
Second Edition
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Oxford University Press Edited by David Mathews This new edition of Vaughan Williams's Symphony No. 7 - Sinfonia Antartica, has been prepared by David Matthews with support from the Vaughan Williams Charitable Trust. The work was drawn from the music Vaughan Williams provided for the film Scott of the Antarctic in 1947 and was completed in 1952. In it the composer skilfully evokes the sparse beauty and grandeur of the landscape with a large orchestra and percussion section, including - famously - a wind machine, to create a work of great power and intensity. This new edition contains an introduction and textual commentary and is published as a full score, study score, and women's chorus, with all performing material on hire. Full Score and Study Score on sale. Parts available on hire |
Johannes Brahms - Piano Concerto No. 2 in B-flat Major, Op. 83
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Edited by Johannes Behr Piano reduction by Johannes Umbreit Fingering by Lars Vogt Henle Urtext Shortly after a rather unsuccessful performance of his Piano Concerto no. 1, Johannes Brahms wrote to Joseph Joachim in 1859: “... a second one will sound different”. Nevertheless, a good 20 years elapsed before that second concerto finally took form, and only in 1881 was he able to announce: “I wanted to tell you that I have written a very small piano concerto with a tiny little delicate Scherzo”. Henle's piano reduction of this anything-but-little symphonic concerto presents the solo part as it appears in the respective, recently published volume of the Brahms Complete Edition (HN 6020). The arrangement of the complex orchestral part for the accompanying second piano has been newly prepared by Johannes Umbreit, based on the score of the Complete Edition. Performing Score on sale |
William Walton - Façade: First and Second Suites for Orchestra
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Oxford University Press
Edited by David Lloyd-Jones This edition of Walton's Façade: First and Second Suites for Orchestra has been off-printed from the William Walton Edition full scores. It combines the scholarship of the main edition with the practical benefits of a study score format, and includes an introduction by the editor. Study Score on sale. Full Score and Performance Materials on hire. |
Johann Strauss Jnr- Furioso-Polka (quasi Galopp)
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Doblinger
Edited by Wolfgang Dörner In music, the performance indication "furioso" calls for impetuous playing characterised by ferocious temperament. Such a performance is suggested by the title of the Furioso- Polka quasi Galopp, a fast polka, composed by Johann Strauss II in the summer of 1861 in Pavlovsk near St. Petersburg. The title illustration of the piano edition published by Carl Haslinger of Vienna in December 1861 correspondingly shows two couples frenziedly dancing the galop on a turning wheel driven by two devils with roles Full Score and Performance Materials on sale |
Franz Joseph Haydn - Symphony No. 91 in E flat
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Bärenreiter Urtext
Edited by Andreas Friesenhagen This four-movement work with a slow introduction is Haydn’s last symphony for ‘small’ orchestra, i.e. without trumpets and timpani. However it has long passages for solo violoncello and is also scored for two bassoons. The editor of this edition recommends a performance with low horns (additionally included in the wind set) to prevent the musical character of the “Andante” from being compromised by the predominantly high registers. Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works, operas and symphonies, this edition is appearing, based on the Henle Complete Edition of the “Works of Joseph Haydn”.The complete performance material for several of Haydn’s “Sturm und Drang” symphonies and all the London and Paris symphonies has already been published. Full Score and Performance Materials on sale |
Gustav Mahler: Symphony No. 7
Zoltán Kodály: Háry János-Suite
Ralph Vaughan Williams: Richard II - Incidental Music
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Promethean Editions
Edited by Nathaniel Lew Published for the first time, Richard II by William Shakespeare – Incidental Music for the Radio (1944) by Vaughan Williams provides insight into a substantial work at the height of his maturity. Although the composer prepared this extensive score, having written approximately 25 minutes of original music scored for an orchestra with a full complement of brass and percussion, the BBC radio production never materialised. “Documentation of the project is scarce” writes editor Nathaniel Lew. He explains further: “Queries in the orchestral score in a copyist’s hand suggest that instrumental parts were prepared, but neither these parts nor any recording has survived, nor has any other correspondence or documentation of the commission.” Duration 19 minutes Study Score on sale |
Ludwig van Beethoven: The Five Piano Concerti
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Bärenreiter Urtext
Edited by Jonathan Del Mar Now that all the scores, critical commentaries and complete performance materials have been published for Beethoven’s five Piano Concertos (BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level. Rounding off the edition are an informative introduction by Beethoven scholar Barry Cooper on the genesis of the works and a foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach. Please note, the full scores and performing materials of all five concerti are now available from Bärenreiter also. Email us at clearmusicaustralia@gmail.com for more information |
Johannes Brahms: Serenade No. 1 in D Major
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Breitkopf Urtext
Edited by: Michael Musgrave Johannes Brahms was long reluctant to compete with Beethoven in the field of symphonic music. With his D-major Serenade in six movements, the young composer deliberately chose a genre that had had its golden era in the 18th century, thus before Beethoven. Initially, he even conceived the Serenade for a smaller setting, but decided on a full orchestra in 1860. But even then, it was slow in becoming an audience success. The new Brahms Complete Edition has chosen as its principal source a copy of the score’s first edition that Brahms used as his personal work copy. There, however, errors remained undiscovered, and recurred in later print runs as well. It was not until the new Brahms Edition that a music text of the D-major Serenade is finally being published, a text that clearly heeds all of the composer’s emendations and eliminates other shortcomings. Full Score and Performing Materials on sale |
Paul Dukas: L'Apprenti Sorcier
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Eulenburg Miniature Scores
Edited by: Jean-Paul Montagnier Goethe's ballad of the Sorcerer's Apprentice who overestimates his magical abilities, enchants a broom without permission and thus causes an absolute mess is still known to every child today. The brilliant musical setting by Paul Dukas is one of his best known compositions and known as film music of Walt Disney's Fantasia in which Mickey Mouse is the sorcerer's apprentice. Study Score on sale |
Joseph Haydn: Symphony No. 26 - Lamentazione
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Bärenreiter Urtext
Edited by Andreas Friesenhagen and Christin Heitmann Haydn’s Symphony No. 26 received its nickname “Lamentazione” during his lifetime, though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn’s day it was customary to play individual movements in church services, and it may be assumed that these two movements were performed, and possibly composed, independently from each other. Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works, operas and symphonies, Haydn’s Symphony No. 26 is appearing based on the Henle Complete Edition of the “Works of Joseph Haydn”. The complete performance material for several of Haydn’s “Sturm und Drang” symphonies and all of the London and Paris symphonies has already been published. Full Score and Performing Materials on sale |
Johann Strauss: Lagunen-Walzer for Orchestra op. 411
Pjotr Iljitsch Tschaikowsky: Overture - The Year 1812
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Breitkopf Urtext Edited by Polina Vajdman A “Tchaikovsky Urtext” is no longer a rarity in Breitkopf’s orchestral catalogue. Polina Vajdman has edited a very popular repertoire work that the composer personally did not think very highly of. He even confessed to having written the work “without the warmth of love.” Nevertheless, the piece is a masterful example of program music that seemingly casually interweaves two Russian folk songs, a liturgical melody of the Russian Orthodox Church and two national anthems, the Marseillaise and the Czar’s Hymn. The work was written for the consecration of the Christ the Savior Cathedral in Moscow, which was erected in memory of the victory over Napoleon in 1812. The first edition of the score, which was carefully corrected three times by Tchaikovsky, is the principal source for this new Urtext edition. The wording of the title “Overture – The Year 1812” corresponds to the composer’s words, but was oddly never included in the first edition. Full Score and Set of Parts on sale |
Ludwig van Beethoven: Concerto for Pianoforte and Orchestra No. 4 in G major, op. 558
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Bärenreiter Urtext Edited by Jonathan Del Mar The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during the course of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own corrections and the first edition in parts from 1808 which was published in Vienna and which contains a few revisions dated after the aforementioned manuscript. Though no new sources have been available for this new edition, numerous editorial emendations which have prevailed in all previous editions (even Urtext editions) have now been corrected. Thus, this new Bärenreiter Urtext edition presents Beethoven’s famous work in the clarity which it deserves. Full score, piano reduction and performance materials on sale |
Robert Schumann: Overture to Scenes from Goethe's 'Faust' WoO 3
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Breitkopf Urtext
Edited by Christian Rudolf Riedel The question “Why add music to such perfect poetry?” preoccupied Schumann long and intensively. His first compositional approach to Goethe’s “Faust” began in 1844, but it was not until 1851 that he finally completed the Scenes. At Liszt’s suggestion, Schumann added an overture in 1853, a symphonic “instrumental introduction” which atmospherically evokes the action of the Scenes but has no direct thematic reference to them. As an independent overture, the work has been played relatively rarely in concert halls to this day; the general prejudice towards Schumann’s late works was no doubt partly responsible for this. The first Urtext edition of the overture was based on the autograph score that was revised by Schumann and served as the principal source. It should give new impulses to the future reception of this work which Paul Dukas hailed as “a miracle, from beginning to end.” Full score and set of parts on sale |
Modest Mussorgsky (orch. Ravel): Pictures at an Exhibition
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Breitkopf Urtext Edited by Jean-François Monnard Ravel’s brilliant compositional interpretation of the “Pictures at an Exhibition” is, to this day, the most famous and independent orchestration of Mussorgsky’s masterpiece. When the French composer turned his attention to his Russian colleague’s piano cycle in 1922, he was at the height of his mastery and Paris was enraptured by Russian music. Notated with remarkable accuracy in an autograph score, Ravel’s orchestration was an audience favorite from the very start. Jean-François Monnard, who previously edited the Breitkopf Urtext editions of “Boléro,” “La Valse” and “Rapsodie espagnole,” presents a text in which even the tiniest detail is authentic. The new edition not only eliminates many previously undiscovered errors, but also offers a wealth of practical information on the long and multi-faceted performance history of the work, including the metronome markings of great conductors who were connected to the work in a very special manner. Full score on sale Performance materials on hire. email us at clearmusicaustralia@gmail.com for further information. |
Franz Joseph Haydn: Concerto for Violin and Orchestra Hob. VIIa:1 in C Major
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In this Concerto in C major the soloist is accompanied purely by a string orchestra, a scoring which can be mastered easily, even by amateur ensembles. Continuing Bärenreiter's collaboration with Henle in the areas of large vocal compositions, operas and symphonic works, the edition of this violin concerto is based on the Henle Complete Edition of the "Works of Joseph Haydn". The complete London and Paris symphonies as well as several 'Sturm und Drang' symphonies are already available. All works appear with a full score and performance material on sale in a large format.
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Gabriel Fauré: Pavane for Orchestra Op.50
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Bärenreiter's new scholarly-critical edition of Gabriel Fauré's evergreen, the Pavane op. 50, has been edited by Robin Tait as part of the "Complete Works of Gabriel Fauré".
The popularity of the work is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Fauré began work on a version for choir, which was actually premiered before the orchestral version. This new Bärenreiter edition offers conductors and orchestras a reliable Urtext edition of the Pavane's original orchestral version which will surely enhance symphonic concert programmes everywhere. |
Claude Debussy: La Mer
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'La Mer', which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913. The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, for example in terms of articulation and dynamics.
This new edition includes the famous fanfare in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare. |
Wolfgang Amadeus Mozart: Piano Concerto K.491 in C minor (Autograph: Royal College of Music, London)
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Mozart's Piano Concerto in C minor K.491 is one of his best-known works in the genre, not least because of the special character of its minor key (rarely encountered in Mozart's music) and the dramatic contrast between the soloist and orchestra.
Equally unusual is the autograph manuscript. Here Mozart made an exception by producing sketches that he later enlarged and extensively revised for the score. On the one hand this allows us to retrace his creative process, on the other hand in some passages the definitive readings are almost illegible, especially in the piano part. This facsimile edition enables everyone to form their own opinion of the questionable passages. Mozart's work appears here for the first time in a colour facsimile, making it possible to easily recognise the contrasting colours of ink. The renowned Mozart scholar and pianist Robert D. Levin explains Mozart's method of composition and guides the reader page by page through the autograph. |
Johannes Brahms: Serenade No.1 in D Major Op.11
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Johannes Brahms wrote his D major Serenade in the years 1857 to 1859 – initially for small orchestra, then for large orchestra. The world premiere of this final version took place in Hanover on 3 March 1860 under the direction of Joseph Joachim. The first edition (score and parts) was published by Breitkopf & Härtel in Leipzig in 1860/61. The Urtext edition presented here is based on the Brahms Complete Edition of the 'Gesellschaft der Musikfreunde' in Vienna published by Breitkopf & Härtel.
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Jean Sibelius: Lemminkäinen: Four Legends Op.22
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The four orchestral scores which are brought together in "Lemminkäinen op.22" can be understood with a bit of imagination as a kind of program symphony. All the more surprising is the "Revision History" that occurred after the first performances and versions in 1896 and 1897: Sibelius soon revised two pieces, the "Swan of Tuonela" (which was soon to become very popular) and "Lemminkäinen returns home" (op.22 no.4). He had both scores printed, but stowed the two other pieces away in a drawer for nearly 40 years before he gave them their last polish. The entire cycle in its "last authorized version" was published in 1954, just as the composer wished. This happy ending is comprehensively documented in Volume I/12b of the Sibelius Complete Edition.
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Camille Saint-Saëns: Havanaise Op.83 in E Major
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The "Havanaise" possibly has its roots in the friendship of the composer with the Cuban-born violinist Rafael Diaz Albertini. It is thus perfectly plausible that Saint-Saëns borrowed the Cuban syncopated slow dance Habanera out of kindness towards his performance partner when he was getting ready to write a work for Diaz Albertini in 1887. Saint-Saëns originally wrote a version for violin and piano, which was later followed by the orchestral version that the publisher Durand had urged him to write. Diaz Albertini, to whom the work was dedicated, gave its world premiere before other virtuosos adopted it for themselves and spread its fame throughout the world. The basis of this first Urtext edition of the piece is the first edition, which was presumably personally overseen by Saint-Saëns.
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Alfred Schnittke: Suite in Old Style for String Orchestra
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Alfred Schnittke's Suite in the Old Style was composed in 1972 and received its premiere in its original form in March 1973 by Mark Lubotsky (violin) and Lyubov Yedlina (piano) in Moscow. The five-movement work – an homage to the suite form of the 18th century – is one of Schnittke's most frequently performed works and has already been adapted a number of times. In this adaptation by Jolán Berta, heard and authorised by Schnittke during his lifetime, Sikorski offers the popular Suite by Schnittke for a purely string ensemble for the first time. Alongside this, however, the frequently performed version by Vladimir Spivakov for 2 oboes, 2 horns, harpsichord and string orchestra (SIK 2380) is still available.
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Ludwig van Beethoven: Piano Concerto No.3 in c minor Op.37
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Beethoven’s Piano Concerto No.3 is the only concerto where no authentic manuscript exists for the solo part. The autograph of the score is available, whereby the articulation, dynamics and pedal markings are for the most part absent. However, Beethoven oversaw the first printed edition of the solo part (1804) with great diligence. Plate corrections bear witness to the care with which Beethoven placed slurs and pedal markings in order to be consistent and unambiguous.
By means of a thorough examination of the sources this new Urtext edition presents many corrections in terms of articulation, dynamics and notes. In particular, the orchestral parts have been corrected for the first time since Beethoven’s lifetime. |
Ralph Vaughan Williams: The Solent
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In the fifty years since his death, Vaughan Williams has come to be regarded as one of the finest British composers of the 20th century. He has a particularly wide-ranging catalogue of works, including choral works, symphonies, concerti, and opera. His searching and visionary imagination, combined with a flexibility in writing for all levels of music-making, has meant that his music is as popular today as it ever has been.
Marking the first publication of an early work for chamber orchestra, this study score presents Vaughan Williams's The Solent, composed in 1903. The main theme from this work will be recognisable to many listeners, as it later found its way into both the Sea Symphony and the Ninth Symphony, albeit in a somewhat altered form. This duplication has intrigued many Vaughan Williams' scholars, as has the Philip Marston quotation that prefaces the scores: 'Passion and sorrow in the deep sea's voice, A mighty mystery saddening all the wind?'. The score has been edited by James Francis Brown and includes an introduction by the editor. |
Johann Sebastian Bach: Concertos for Harpsichord and Strings
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These new scores to Bach's ever popular harpsichord concertos complement the existing Barenreiter piano reductions and orchestral performing materials. They are based on the corresponding New Bach Edition volume BA 5090 (Series VII/4) edited by Werner Breig. All of J.S. Bach's Harpsichord Concerto performance materials are on sale through Clear Music.
Please email us for further information about performance materials. |
Ludwig van Beethoven: Piano Concerto No.2 in Bb Major Op.19
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Although the sources to Beethoven's Piano Concerto op.19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account. Jonathan Del Mar's scholarly-critical edition corrects misreadings of Beethoven's autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work.
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Franz Joseph Haydn: Symphony No.46 in B Major Hob I:46
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Haydn's Sturm und Drang symphonies along with the London and the Paris symphonies belong to his most popular works today. The Sturm und Drang works contain not only masterpieces such as the already published Farewell and the Maria Theresia symphonies but also gems such as the recently published La Passione symphony and now the Symphony in B major No.46.
The publication of this symphony represents a continuation of the collaboration between Bärenreiter and the Henle publishing company in the areas of large vocal compositions, operas and symphonic works. This edition is based on the Henle Complete Edition of the Works of Joseph Haydn. Orchestral parts are in an enlarged format (25.5 x 32.5 cm). |
Complete Works of Gabriel Faure Series IV, Vol.1: Symphony in F Major Op.20, Pavane Op.50 and Caligula Op.52
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For the first time, the Complete Works of Gabriel Fauré (1845-1924) has managed to amass all the scores which were issued during the composer's lifetime, mostly by three different publishers. Furthermore, it offers a corrected text based on all available original sources; rough drafts, manuscripts, corrected proofs, first editions, editions with corrections by Fauré or by his favourite performers, letters mentioning changes or mistakes to be corrected in future printed editions.
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Johann Pachelbel: Magnificat II
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Johann Pachelbel is known today as a composer of organ music and of a world-famous instrumental canon which frequently features in concert programmes and recording catalogues. However, the same can be said of only a few of his vocal compositions. At most, the motets appear occasionally in church music repertoire. Pachelbel's arias, vocal concerti and large-scale Magnificats have received little attention up to now.
Church musicians and musicologists have long wished for a critical edition of these important works, which survive in Pachelbel's manuscript and were largely composed in his main places of work, Erfurt and Nuremberg . As always with such ventures, new discoveries are to be expected regarding the body of works, source material and the context of the works. This concerns not only beautiful music, but rather a deepening of our understanding of Pachelbel as a key figure between southern and central German traditions, and the recognition of an oeuvre which has all too often been pushed into the shadows by the mighty Bach. |
Francesco Cavalli: Artemisia
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Over the past several decades, the operas of Francesco Cavalli (1602–1676) have become increasingly in demand in theaters around the world, an interest stimulated in part by the over- whelming popular success of the operas of Monteverdi, Cavalli's great predecessor and teacher. Whereas Monteverdi's extant operas are only three, however, Cavalli's number nearly thirty. Indeed, Cavalli was the most prolific and important opera composer of the seventeenth century, and it is his works that set the stage for the subsequent development of opera as a genre. Cavalli's operas, which share some of the most outstanding features of Monteverdi's, thus provide a treasure trove of material waiting to be performed.
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Franz Joseph Haydn: Symphony No.49 in f minor Hob. I:49 "La Passione"
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Haydn's "Sturm und Drang" symphonies along with the London symphonies belong to his most popular works today. "The Sturm und Drang" symphonies contain not only masterpieces like the recently published "Farewell Symphony" (No.45, BA10971) and the "Maria Theresia Symphony" (No.48, BA10972), but also gems such as "La passione" (No.49).
The publication of this symphony presents a continuation of the collaboration between Bärenreiter and Henle in the areas of large vocal compositions, operas and symphonic works. "La passione" is based on the Henle Complete Edition of the "Works of Joseph Haydn" and is published with a full score and performing material on sale in large format. |
Franz Joseph Haydn: Symphony No.48 in C Major Hob. I:48 "Maria Theresia"
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The publication of Haydn's "Sturm und Drang" Symphonies – the Farewell Symphony and Symphony No. 48 (the so-called "Maria Theresia" Symphony) – represents a continuation of the cooperation between Bärenreiter and the Henle publishing company for editions of larger choral works, operas and symphonic works.
This publication is based on the Henle "Complete Edition of the Works of Joseph Haydn". |
Franz Joseph Haydn: Symphony No.45 in f# minor Hob. I:45 "Farewell"
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Haydn's "Farewell Symphony" is one of the most frequently played works of the symphonic repertoire. The popular title did not derive from the composer but refers to the final movement, at the end of which (Adagio) the musicians stop playing one after the other, leaving only two violins to end the work. According to an anecdote, the musicians' exit was a means of making reference to the demands of orchestral work at Esterháza at the end of the season.
This publication is based on the Henle "Complete Edition of the Works of Joseph Haydn". |
Ludwig van Beethoven: Concerto for Pianoforte, Violin, Violoncello and Orchestra Op.56 in C Major "Triple Concerto"
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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 three instruments 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 of Beethoven's Triple 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 the text, 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 in the solo piano part.
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Ludwig van Beethoven: Piano Concerto No.1 in C Major Op.15
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The Barenreiter editor and Beethoven expert Jonathan Del Mar, who has received international acclaim for his highly successful editions of Beethoven's works, now turns his focus on the piano concertos. In the Piano Concerto No.1 in C major op.15, Del Mar has found no less than 17 corrections in Beethoven's autograph which were made after the work was published. These have been brought to light in this new Barenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.
This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. |
Maurice Ravel: Tzigane - Rhapsody de Concert for Violin and Orchestra
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In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic Tzigane.
This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of Tzigane from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. |
Antonin Dvorak: Symphony No.7 in d minor Op.70
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Dvorak's Symphony No.7 was commissioned by the Royal Philharmonic Society in August 1883 and received its premiere on 22 April 1885 in London, conducted by the composer himself. The following June the second movement was shortened by some 40 bars and the work was published in this form in 1885 by Simrock. The editor of this new scholarly-critical edition is Jonathan Del Mar who has gained an international reputation for his edition of Dvorak's cello concerto in B minor (BA 9045), not to mention his editions of works by Beethoven and Elgar. Del Mar has drawn on all the available sources including letters. The original version of the second movement appears in the appendix as well as in the performing material.
This new Barenreiter edition sets the highest scholarly standards whilst also taking the needs of modern performers into account. |
Bedrich Smetana: Ma vlast (My Country)
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The first performance of "Má vlast" as a six-part symphonic cycle took place on 5 November 1882. With the founding of the Czech Philharmonic in 1896 this work received a far greater reception. Since 1952 the music festival "Prague Spring" has opened with this complete cycle.
This edition is based on the "Study Edition of the Works of Bedrich Smetana", vol. 14, supplemented by an up-to-date detailed foreword about the genesis and history of the work by Marta Ottlová. Contents: Vyšehrad | Vltava (The Moldau) Šárka | Z Ceských luhu a háju (From Bohemia's Woods and Fields) Tábor | Blaník |