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Discover baerenreiter.com 1 CONTENTS
Piano Solo Piano Concertos Continuo Method ...... 48 Collections of Original Works .....4 in arrangements for 2 pianos ...40 Collections of Arrangements ...... 8 Mozart, Piano Concerto Jazz / Latin American ...... 9 Piano Music in C minor – Facsimile ...... 48 Easy Piano Pieces and Dances ...10 in Study Score Editions...... 44 Composers A-Z ...... 11 Gift Items ...... 49 Chamber Music with Piano Piano Duet Trio with Piano ...... 45 Index Collections ...... 36 Quartet with Piano ...... 47 by Composers ...... 50 Composers A-Z ...... 37 Quintet with Piano ...... 47
Photo: The Bärenreiter Library in Kassel ABBREVIATIONS AND KEY TO FIGURES
BA Bärenreiter Edition ° Performance material Bc / bc Basso continuo available on sale Cz Czech text Performance material Ed. Editor available on hire EN Edition Nagel Bärenreiter-Verlag Eng English text http://www.youtube.com/ Karl Vötterle GmbH & Co. KG Fr French text user/BaerenreiterVerlag International Department Ger German text http://www.facebook.com/ P.O. Box 10 03 29 H Bärenreiter Praha baerenreiter maj major 34003 Kassel · Germany min minor Content valid as of January 2014. SM Süddeutscher Musikverlag Errors excepted and delivery terms www.baerenreiter.com Series subject to change without notice. E-Mail: [email protected] TP Study Score Cover design with a photograph Contents by Edition Paavo Blåfi eld. Printed in Germany Review E-Mail: paavo@blofi eld.de 3/1402/10 · SPA 233 Edition with fold-out pages www.blofi eld.de
2 “After so many cantatas I only play for fun. My original work is for the fans.”
Bärenreiter Urtext: Your next performance is worth it.
Think of the time you spend practising and rehearsing for lessons and concerts. Can you What does the word really be sure that the music you play from refl ects what the composer wanted? urtext mean?
Indeed, works have always been edited refl ecting The German prefi x ur- literally means “original” the taste of the time, often leading to a gradual or “earliest”. The earliest use of the term urtext deviation from what the composer had in mind. goes back to the 19th century where it appeared Most copied or downloaded music comes from old, in connection with literary texts. It referred to heavily edited or even faulty editions. How the original texts of writers such as Goethe or disappointing to realise that you have wasted your Shakespeare which scholars tried to restore and time and energy on a musical text you cannot trust. free from editorial additions.
With Bärenreiter Urtext editions you can have In music urtext now is a label used for scholarly- confi dence in the validity of the musical text. critical editions based on all known sources. Discover baerenreiter.com 3 PIANO SOLO
Organ and Keyboard Music Please see at the Salzburg Court Bärenreiter’s website 1500 – 1800 www.baerenreiter.com Ed. S. Rampe for more information on the BA 8499 individual editions, such as This edition contains organ and complete bibliographical data, clavier music by composers cover illustrations, sample active at the Salzburg court pages, complete contents, from the early 16th century to and descriptive texts. the end of the archbishopric in 1803. Siegbert Rampe has chosen valuable pieces of moderate technical difficulty, Collections mostly from previously Organ and Keyboard Music unpublished sources, which of Original Works of the Imperial Court Chapel can be used in church services Vienna 1500 – 1700 or concert performances. German Organ and Keyboard “… remarkable music, often Music of the 17th Century Ed. S. Rampe BA 9214 hitherto unknown, but richly deserving of our attention.” Collection of First Editions (The Consort) Urtext / Ed. S. Rampe This edition publishes for the fi rst time a range of pieces Volume I: BA 8426 by composers working in the “The printing and layout is Volume II: BA 8427 imperial court during the excellent, and the preface 16th and 17th centuries. The contains much useful information Rampe’s two volume edition volume contains twenty-two about the Court, instruments, is a journey to the early 17th compositions with a detailed composers and sources. century with a wealth of preface, many facsimile pages … , the selection off ers plenty of valuable pieces for keyboard from the original manuscript interesting und useful material in instrument. Many of the works and a Critical Commentary the main styles of three centuries.” appear for the first time in (Ger/Eng). (The British Institute print. Especially noteworthy of Organ Studies) are a newly discovered prelude presumably by J. Pachelbel and the sole surviving keyboard work by H. I. F. Biber.
German Organ and Keyboard Music from Bach‘s Period Collection of First Editions Urtext / Ed. S. Rampe BA 9255 This publication includes organ and keyboard works by composers from Bach’s time. For the first time, the original version of Bach’s famous Toccata in F major is published in an edition based on the sole source, manuscript Bach P 803 in the Berlin State Library.
With extensive preface and Critical Commentary (Ger/Eng) Numerous facsimile pages “… a pleasing and rewarding anthology …” (The Consort) From: German Organ and Keyboard Music from Bach‘s Period · BA 9255
4 PIANO SOLO
A representative cross section of romantic piano music by renowned composers of the nineteenth and early twentieth centuries.
The pieces are well suited to lending variety to the piano lesson. A welcome addition to Bärenreiter’s two Sonatina albums and to the Early 20th Century album.
“This album is also excellent value and is a very well chosen Bärenreiter Piano Album Bärenreiter Piano Album Romantic collection of short and not too Baroque Ed. M. Töpel diffi cult nineteenth century Musical text includes BA 6538 pieces.” (Music Masters Journal) suggestions for ornaments Ed. A. Erényi B A 8 7 5 9
Bärenreiter Sonatina Album Ed. K. Wolters Volume 1: BA 6545 Volume 2: BA 6549
From: BA 8758
Easy Classics for Piano From Handel to Ravel 36 Originals from Bach to Satie 39 Easy Originals for Piano Ed. M. Töpel Ed. M. Töpel BA 8758 BA 8771 NEW 2014 To appear in the autumn of 2014 This anthology consists entirely of original works by The collection includes works J. S. Bach, Handel, Haydn, by J. S. Bach, Beethoven, Brahms, Mozart, Beethoven, Schubert, Chopin, Debussy, Grieg, Handel, Mendelssohn Bartholdy, Haydn, Liszt, Mendelssohn Bärenreiter Piano Album Schumann, Chopin, Liszt, Bartholdy, Mozart, Ravel, Satie, Vienna Classic Brahms, Grieg, Debussy and Schubert, Schumann and Ed. M. Töpel Satie. Tchaikovsky. BA 8756
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Collections of Original Works
Klavier-Festival Ruhr Bärenreiter Piano Album Contemporary music Piano Album Bärenreiter for two and four hands Bärenreiter Piano Album Contemporary Composers Eds. T. Bleek / M. Töpel Early 20th Century Ed. M. Töpel Fingering by P.-L. Aimard Includes additional explanations, “Best Edition 2010” and T. Stefanovich suggestions and information on BA 8762 BA 9659 the pieces (Ger/Eng/Fr) Ed. M. Töpel A varied and attractively This album of piano works BA 6555 presented album demonstrates that contemporary music can inspire “... a very bold and With suggestions for your children and adults of quite welcome initiative from own improvisation different musical abilities and interests. The edition developed Bärenreiter to complement Includes information their other excellent collections (Ger/Eng) on the pieces out of an extremely successful of Sonatinas and Romantic education project run by the works.” (EPTA) This Piano Album offers a Klavier-Festival Ruhr. This wealth of discoveries and festival began in 2007 with “... a good base for the aim of presenting broadening the horizons of the stimulating pieces from twenty composers of the 20th and 21st contemporary piano music in student pianist.” collaboration with the (Australian Music Teacher) centuries. These diverse pieces, by composers working internationally-renowned in quite different styles, pianists Pierre-Laurent Aimard “At last a comprehensible and Tamara Stefanovich. and appealing introduction to impressively demonstrate the music of the twentieth how relevant and inspiring The works in this edition are century for pianists.” the piano is for contemporary valuable additions to the (EPTA Piano Journal) composers. repertoire of piano music for two and four hands of easy to The pieces which result from medium technical difficulty. improvisation encourage With works by Belá Bartók / experimentation in the area Commentaries on the works Benjamin Britten / Willy Burkhard / of spontaneous music-making. and performance tips enhance Alfredo Casella / Claude Debussy / The collection includes a the album. In addition, all the Hugo Distler / César Franck / broad spectrum of repertoire pieces are presented Enrique Granados / Karl Amadeus ranging from easy to more interactively on the Klavier- Hartmann / Paul Hindemith / demanding works. Festival Ruhr website by the Gustav Holst / Leoš JanáČek / participating pianists and Zoltán Kodály / Franz Liszt / “Strongly recommended.” composers. Bohuslav Martinů / Modest (Music Teacher) Mussorgsky / Serge Prokofi ev / “Of course [the Album] is Wladimir Rebikow / Max Reger / “This is one of the most primarily intended for piano Camille Saint-Saëns / Erik Satie / exciting publications to have teaching. However, at the same Arnold Schönberg / Jean Sibelius / come our way, …” time it is really good music! Alexander Skrjabin / Igor (Piano Journal) When was the last time there Stravinsky / Julius Weismann / was something so fine? Bartók? Bernd Alois Zimmermann Czerny?” (FAZ Sonntagszeit)
6 PIANO SOLO
Ramade- Etchebarne, Anita (*1953)
Kids in Concert 10 Piano Pieces for Children Series Ready to Play BA 10602 These ten pieces are written in varying styles: classical, pop, ballad, rock and jazz. The little compositions are of high musical value and display quality piano writing. At the same time they are appealing to children. The humorous drawings will greatly entertain Cofalik, Antoni young pianists. Twardowski, Romuald At the Zoo for piano BA 8125
A piano is a welcome visitor at the zoo. You don’t have to be a lion of the keyboard to play this little collection. Antelope, reindeer and elephants cluster around the young pianist. The kangaroo takes bold leaps, the bear ambles with a measured gait at a comfortable maestoso, the crocodile slithers in a smooth legato, and the beaver baffles the eye with facile frisking. The player rides on a pony with tiny staccato leaps, and grasshoppers set accents of their very own. Each of these charming pieces poses a special technical task that young players can master playfully, almost effortlessly. Dry études become a thing of the past. Even the colourful illustrations by Marcin Bruchnalski reflect the character of the music.
Teaches technical skills in a spirit of fun Imaginative melodies Colourful illustrations
“These attractive pieces should help stimulate the imagination while providing some interesting original music for the younger player.” From: Ramade-Etchebarne, Kids in Concert · BA 10602 (Music Teacher)
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Collections of Arrangements
Bärenreiter Piano Moments Favourite Classics arranged for piano by Christoph Ullrich and Andreas Skipis With fingering Baroque From: Bärenreiter Piano Moments, Baroque · BA 8764 BA 8764 Michael Töpel’s arrangement, Classical of easy to moderate difficulty, BA 8765 captures the life and radiance Romantic of this very well-known work. BA 8766 Though there is certainly no shortage of arrangements of This three-volume collection this piece, never before has of well-written, exquisite Mozart’s original been so arrangements covers a wide rigorously adhered to: the range of musical styles, edition is based on the Urtext enabling pianists to explore from the New Mozart Edition. the great possibilities of their instrument. Pianists will Eine kleine Nachtmusik in enjoy playing these pieces of an idiomatic arrangement moderate difficulty. for piano
“These volumes will no Serenade in G maj “Eine kleine Easy to moderately difficult doubt bring much satisfaction Nachtmusik” K. 525 piano writing to many a Sunday pianist!” With fingering (Piano Journal) Arranged for piano by M. Töpel With fingering and tips on BA 9160 ornamentation (Ger/Eng)
8 PIANO SOLO
Jazz / Latin American Jazz Inspired
Classic goes Jazz Works for Piano Arrangements by Jean Kleeb With a CD including all pieces BA 8760 Classical themes are the basis for Jean Kleeb’s varied, jazz- orientated piano arrangements. He is adept at taking the best- known baroque, classical and romantic themes and placing them in a new light. “Classical” as well as jazz pianists will derive a great deal of enjoyment from this selection. Kleeb, Jean D v o ř á k , M i l a n (*1964) (*1934) NEW 2014 Jazzy Piano Jazz Studies (Cz/Ger/Eng) Series Ready to play Volume 1: H 5020 BA 10627 Schulhoff , Erwin Volume 2: H 7082 To appear in the autumn of 2014 (1894-1942) NEW 2014 In order to get acquainted with A collection of pieces in jazzy Jazz Inspired Works jazz piano playing the pianist style, some based on folk tunes, Urtext / Ed. M. Kube needs to cope with the technical some with blues character, also BA 9559 demands as well as the including a spiritual, a Mozart To appear in May 2014 expressive phrasing of jazz. and a Bach arrangement. These range from characteristic Erwin Schulhoff was a German- accentuation, distinctive speaking composer who was syncopation, inverted mordents, born in Prague in 1894 and died playing in “blocks” to rhythmical in the Nazi concentration camp independence of the right hand in Wülzburg (Bavaria) in 1942. from the left. These studies offer In the 1920s he returned to his ways to explore different styles native Prague to teach at the local and genres. Helpful guidance conservatory. His compositions, notes to ensure correct with their blend of traditional interpretation are also included. genres, jazz syncopations, dance H r a d e c k ý , E m i l rhythms and moderately (*1953) expanded tonality, were fully attuned to the tenor of the times. Jazz Etudes for Young Pianists (Cz/Ger/Eng) This edition contains fi ve of H 7974 Schulhoff ’s piano cycles with a total of thirty-fi ve jazz-infl ected Kleeb, Jean pieces. This is the fi rst Urtext (*1964) M o z a r t g o e s J a z z edition of this music and draws Baila Negra. 10 new Arrangements by Jean Kleeb on the original prints comparing Latin-American Piano Pieces BA 8761 them with the surviving Series Ready to Play handwritten sources. Errors have BA 10604 These arrangements invite been corrected and distinctive pianists to dive into the traits of Schulhoff ’s notation The ten pieces of this edition harmonic and rhythmic retained. are all rhythmically lively, fun to universe of jazz, lending a play and easy to learn. They are new guise to such well-known Partita (1922) / Cinq Études written varyingly using 2/4, 3/4 pieces as the Rondo alla turca de jazz, op. 58 (1926) / Esquisses or 4/4 time signatures and or the second movement of de jazz. Six easy pieces, op. 64 originate in Brazil, Columbia, Peru the A major Piano Concerto (1927) / Hot Music. Ten syncopated and Argentina. The pieces are (K. 488). The edition offers a etudes, op. 67 (1928) / Suite either based on traditional glimpse into the art of piano music or they are more recent improvisation and includes dansante en jazz, op. 74 (1931) works which have gained suggestions for the player’s First Urtext edition popularity. own performance.
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Easy Piano Pieces and Dances Edited by Michael Töpel
“The series of Easy Pieces and Dances by the Classical masters, carefully edited by Michael Töpel, is an ideal starting point for students and teachers, and a refreshing addition to the usual anthologies.” “A boon to piano teachers, …” (Piano Journal)
Bach, Johann Sebastian (1685-1750) BA 6572
Beethoven, Ludwig van Handel, George Frideric (1770-1827) (1685-1759) BA 6560 BA 6578 Ravel, Maurice (1875-1937) Brahms, Johannes Haydn, Joseph BA 6580 (1833-1897) (1732-1809) Satie, Erik BA 6566 BA 4631 (1866-1925) BA 6574 Chopin, Frédéric Liszt, Franz (1810-1849) (1811-1886) Schubert, Franz BA 6565 BA 6577 (1797-1828) BA 5639 Debussy, Claude Mendelssohn Bartholdy, Felix Schumann, Robert (1862-1918) (1809-1847) (1810-1856) BA 6573 BA 6568 BA 6567 Grieg, Edvard Mozart, Wolfgang Amadeus Tchaikovsky, Peter (1843-1907) (1756-1791) (1840-1893) BA 6575 BA 5327 BA 6576
10 PIANO SOLO
Bach, Johann Sebastian Composers A-Z (1685-1750)
The Art of Fugue BWV 1080 Urtext / Ed. K. Hofmann BA 5207
Chromatic Fantasy and Fugue in D min BWV 903 Urtext / Ed. U. Wolf BA 5236
Easy Piano Pieces and Dances Ed. M. Töpel BA 6572 page 10 Bach, Johann Sebastian Goldberg Variations BWV 988 (1685-1750) Fourth Part of the Clavier NEW 2014 Übung Bach, Carl Philipp Emanuel Goldberg Variations BWV 988 Urtext / Ed. C. Wolff (1714-1788) Fourth Part of the Clavier Übung BA 5162 Die sechs Preußischen Sonaten Urtext with fi ngering / Wq 48 Ed. C. Wolff BA 6539 Fingering for the modern piano by R. Schirmer Die sechs Württembergischen BA 10848 Sonaten Wq 49 To appear in April 2014 BA 6498 Bach’s Goldberg Variations have remained a challenge for every harpsichord player and pianist to the present day. One special problem with performances on a modern piano is that Bach wrote this work for a two- manual harpsichord. Ragna Schirmer’s fi ngering off ers the most convenient solutions for the many crossings of the hands necessary on the piano. She also took the engraving of the original print of 1741 as an important guide for dividing the parts between the hands.
Scholarly-critical Urtext performing edition based on the New Bach Edition
With fi ngering for performance on modern pianos as well as a commentary regarding the fi ngering
Division of parts between the hands based on Bach’s original print
From: Bach, Goldberg Variations BWV 988 · BA 10848
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Keyboard Works Little Piano Pieces Composers A-Z of Doubtful Authenticity A selection of 27 pieces Urtext / Ed. U. Bartels, from the Notebook for Anna F. Rempp Magdalena Bach and from BA 5250 the Notebook for Wilhelm Bach, Johann Sebastian Friedemann Bach (1685-1750) A large number of works have Ed. F. Doflein Inventions and Sinfonias survived bearing the name of BA 1766 BWV 772-801 Johann Sebastian Bach, the Urtext / Ed. G. v. Dadelsen authenticity of which have Revised edition been called into question on BA 5150 various occasions. This edition combines all those pieces Inventions and Sinfonias where Bach’s authorship has BWV 772–801 been either verified by the Urtext with fingering / musicologists at the New Bach Ed. G. v. Dadelsen Edition or where there is a Fingering by R. Kretschmar- degree of certainty about this. Fischer BA 5241 The edition gathers together a range of different types of composition: preludes and Italian Concerto BWV 971 fugues, toccatas, dance and Urtext / Ed. W. Emery concert works. Two BA 5194 adaptations of the violin solo sonatas BWV 1003 and 1005 Italian Concerto BWV 971 are worth special mention. Little Preludes and Fughettas Urtext with fingering / These two works demonstrate Urtext / Ed. A. Dürr, Ed. W. Emery / Fingering by particularly clearly something Th. Kohlhase, W. Plath, U. Wolf R. Kretschmar-Fischer which applies to all the other Compiled by M. Töpel, A. Erényi BA 5244 works in this volume: whether BA 5238 Bach’s authorship is doubtful Italian Concerto BWV 971, or not, there is no question French Overture BWV 831 that this is a collection of Miscellaneous Works (with early version BWV 831a) fascinating music. for Clavier I-III Second Part of the Clavier Übung Keyboard Works Volume I Urtext / Ed. W.Emery attributed to J. S. Bach Urtext / Ed. U. Wolf BA 5161 Urtext / Ed. U. Bartels, BWV 933-938 (six little F. Rempp preludes), 917, 918, 921, 922, Keyboard Arrangements of BA 5249 894-896, 903, 903a Works by Other Composers I-III BA 5232 Urtext / Ed. K. Heller This edition complements the volume of Keyboard Works of Volume II Volume I: Six concertos based Doubtful Authenticity Urtext / Ed. U. Wolf on works by Vivaldi and others (BA 5250). It contains works BWV 904, 906, 923/951, 951a, BWV 972-977 which have survived bearing 944, 946, 948-950, 952, 959, BA 5221 E 12,80 Johann Sebastian Bach’s name 961, 967 or were later attributed to BA 5233 Volume II: Seven concertos Bach, but where Bach has based on works by Vivaldi and been ruled out as composer in Volume III others BWV 978-984 the opinion of the editors on Urtext / Ed. H. Eichberg, BA 5222 stylistic grounds or following Th. Kohlhase a critical examination of the BWV 992, 993, 989, 963, 820, Volume III: Five concertos sources. 823, 832, 833, 822, 998 based on works by Vivaldi and BA 5234 others BWV 985-987, 592a, 972a (First Edition). 2 Sonatas Musical Offering BWV 1079 and Fugue based on works by Volume 1: Ricercari for Reinken BWV 965, 966, 954 harpsichord BA 5223 Urtext / Ed. C. Wolff BA 5154 E 10,–
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The Six French Suites BWV 812-817 Embellished version Urtext / Ed. A. Dürr BA 5166 E 11,–
Six Partitas. First Part of the Clavier Übung BWV 825–830 Urtext / Ed. R. D. Jones Revised and expanded edition BA 5152 Six Partitas. First Part of the Clavier Übung BWV 825–830 Urtext with fingering / Ed. R. D. Jones Fingering by R. Schirmer BA 5247
With information on playing technique from Bach’s circle of pupils Toccatas BWV 910-916 Urtext / Ed. P. Wollny BA 5235 E16,50
From: Bach, Little Preludes and Fughettas · BA 5238
Notebook for Anna Notebook for Friedemann Bach Magdalena Bach, 1725 Urtext / Ed. W. Plath The Well-Tempered Clavier I Urtext / Ed. G. v. Dadelsen B A 5 1 6 3 BWV 846-869 B A 5 1 6 4 E 9,50 Urtext / Ed. A. Dürr Preludes and Fughettas BA 5191 Notebook for Anna composed in conjunction with Magdalena Bach, 1725 the Well-Tempered Clavier II The Well-Tempered Clavier II Urtext with fingering / Urtext / Ed. A. Dürr BWV 870-893 Ed. G. v. Dadelsen BA 5200 Urtext / Ed. A. Dürr BA 5192 Fingering by The Six English Suites R. Kretschmar-Fischer BWV 806-811 B A 5 2 4 2 Urtext / Ed. A. Dürr Complete Piano Solo Works BA 5165 E14,90 Urtext. 4 study scores in a set Notebook for Anna TP 2002 page 44 Magdalena Bach, 1725 The Six French Suites Urtext / Ed. G. v. Dadelsen BWV 812-817. Versions A and Bibliophile performing edition B as well as the alternative Barraqué, Jean BA 5115 Hardback versions BWV 814a, 815a / (1928-1973) and the Two Suites BWV 818, 819, 818a, 819a Sonate pour piano (1950-52) Urtext / Ed. A. Dürr Ed. H. Henrich BA 5219 BA 7284
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Composers A-Z
Beethoven, Ludwig van (1770-1827)
Scholarly-critical Urtext editions based on most recent research
All editions with optimum page turns and notes on performance practice
All editions with detailed forewords (Eng/Ger) and critical commentaries (Eng)
Grande Sonate pathétique in C min op. 13 Urtext / Ed. J. Del Mar From: Beethoven, Sonata in F min op. 57 · BA 10852 With a foreword by H. Hein and notes on performance NEW 2014 practice by M. Aschauer Sonata in F min BA 10851 op. 57 “Appassionata” Urtext / Ed. J. Del Mar The Sonata in C minor op. 13 was With an introduction by Beethoven’s fi rst large work in M. Donat and notes on this genre and a prime example performance practice by of the late 18th century piano J. Del Mar and M. Donat sonata. To this day it remains a BA 10852 source of fascination with its ardent pathos and emotional The Sonata in F minor op. 57 is coherence. part of Bärenreiter’s ongoing publication of selected Sonatas in E-fl at maj and Beethoven piano sonatas in C-sharp min “Moonlight” Urtext editions. The nickname op. 27, Nos. 1 and 2 “Appassionata” was ascribed Urtext / Ed. H. M. Stüwe to the sonata only in 1838, long BA 10853 after Beethoven’s death. Easy Piano Pieces and Dances in preparation Ed. M. Töpel BA 6560 page 10 Für Elise H 2018
14 Johannes Brahms PIANO / KEYBOARD Master of Romantic Piano Music
Brahms, Johannes (1833-1897)
Albumblatt for Piano Urtext / Ed. Ch. Hogwood BA 9606 from: Brahms, Albumblatt · BA 9606 During his research, Hogwood came across an unpublished source which had not been Three Intermezzi op. 117 version of the work for solo piano. taken into consideration for any Urtext with fingering / Brahms himself described the fi rst previous edition. In a guest book – Ed. C. Köhn version as suitable for “reasonable which included contributions from BA 9629 hands”, that is, for profi cient Robert and Clara Schumann, Men- players, and the easier version as delssohn, Jenny Lind, Rossini and Piano Pieces op. 118 “perhaps for prettier hands”, that is, for domestic music making. Liszt – Brahms had notated a short Urtext with fingering / piano piece. The source consists of The easily accessible pieces are Ed. C. Köhn among the composer’s most a one-page autograph of this literal BA 9630 Albumblatt (untitled by Brahms). popular works and are particularly The composer used it 12 years later Piano Pieces op. 119 suitable for students. – revised and transposed from A Urtext with fingering / NEW 2014 minor to A-fl at minor – in his Horn Ed. C. Köhn Variations and Fugue on Trio. BA 9631 a Theme by Handel op. 24 Ballads op. 10 Waltzes op. 39 Urtext with fingering / Urtext with fi ngering / Ed. C. Köhn Ed. C. Köhn Urtext with fi ngering / Fingering and suggestions for Fingering and suggestions Ed. C. Köhn for performance by the editor performance by the editor Fingering and suggestions BA 9607 To appear in May 2014 BA 9601 for performance by the editor BA 9602 For his new Urtext edition of Brahms wrote the ballads Brahms’ variations (1861) on an during the time of his close Waltzes op. 39 eight-bar theme from Handel’s friendship with Clara Schumann, Easy version Keyboard Suite No. 1 (Suite de pièces and they exude an intimacy typical (arranged by the composer) de Clavecin, Vol. 2), the editor has of the vocal ballad. The pieces, Urtext with fi ngering / drawn on every available source which Schumann enthusiastically Ed. C. Köhn and incorporated the most recent praised, were modestly described Fingering and suggestions musicological discoveries. by Brahms as being “not too for performance by the editor With fi ngering, a well-presented diffi cult to play and even less BA 9603 layout and optimum page turns, diffi cult to understand.” the volume meets all the demands Brahms’ popular 16 Waltzes, opus of a practical performing edition. Fantasies op. 116 39, composed in 1866 for four A detailed foreword illuminates the Urtext with fingering / hands, were transcribed by Brahms work’s genesis and sources while Ed. C. Köhn one year later for two hands. presenting valuable information BA 9628 At the request of his publisher, on contemporary performance Discover baerenreiter.com Brahms also wrote an easier practice. 15 PIANO SOLO
Composers A-Z
B r a h m s , J o h a n n e s (1833-1897) Albumblatt for Piano BA 9606 page 15
Ballads op. 10 BA 9601 page 15 Cabezón, Antonio de (1510-1566) Easy Piano Pieces and Dances Ed. M. Töpel Selected Works for Keyboard BA 6566 page 10 Urtext / Ed. G. Doderer, Fantasies op. 116 M. B. Ripoli BA 9628 page 15 Volume I Chabrier, Emmanuel Three Intermezzi op. 117 Hymnes and Versets (1841-1894) BA 9629 page 15 BA 9261 Habanera Piano Pieces op. 118 Volume II Urtext with fi ngering / BA 9630 page 15 Hymnes, Versets and Tientos Ed. B. Schilling-Wang BA 9262 Fingering by T. Stefanovich Piano Pieces op. 119 BA 10839 BA 9631 page 15 Volume III Glosados Chabrier’s Habanera was BA 9263 circulated in various arrangements but Bärenreiter Volume IV has published here the fi rst Glosados and Diferencias scholarly-critical edition of BA 9264 the original version for piano. This striking piece is ideal for teaching purposes and includes Set of all 4 volumes fi ngering as well as a well- Special Price presented layout with BA 9270 optimum page turns.
Antonio de Cabezón is regarded as having been the leading Spanish organist and keyboard player of the 16th century. This Urtext edition contains his best- known works. Rácóczi-Marsch for piano. First Edition. Ed. M. Töpel B A 6 5 5 7 “This highly recommended NEW 2014 edition goes a long way in Variations and Fugue offering such a representative on a Theme by Handel op. 24 collection, … and will remain BA 9607 page 15 the standard anthology for many years.” Waltzes op. 39 (The Diapason) BA 9602 page 15 Waltzes op. 39 Easy version C h o p i n , F r é d é r i c BA 9603 page 15 (1810-1849) Easy Piano Pieces and Dances Ed. M. Töpel BA 6565 page 10
16 French Impressionism: Claude Debussy
Debussy, Claude (1862-1918) Images Urtext with fingering / Ed. D. Woodfull-Harris Preface and Notes on Performance Practice by B. Schilling-Wang Fingering by T. Stefanovich
Images 1re série (Reflets dans l’eau, Hommage à Rameau, Mouvement) BA 10821 Volume 1 Images 2e série (Cloches à travers les feuilles, Et la lune descend sur le temple qui fut, Poissons d’or) BA 10822 Volume 2
The virtuoso piano writing – in the second book notated throughout on three staves – From: Debussy, Préludes 1er livre · BA 10818 is “a real revolution in the art of piano music” ( Louis Laloy).
nd NEW 2014 Préludes 2 livre Children's Corner Préludes pour Piano BA 10819 Volume 2 BA 8767 Urtext with fi ngering / in preparation Ed. T. Kabisch Deux Arabesques Fingering by M. Widmaier BA 8768 Préludes 1er livre “I defy anyone not to be inspired and motivated to Pour le piano BA 10818 Volume 1 BA 8770 To appear in April 2014 practise Debussy with extra zeal and pleasure after studying Suite bergamasque Debussy links the 12 Préludes these beautiful Urtext editions. BA 8769 in his fi rst book not by a tonal Not only is there immaculate scheme, but by means of a chain typesetting, presented in Each edition: of associative mottos or titles generous layout, there are also Urtext with fingerings / which appear at the end of each facsimiles of extracts from Ed. R. Back piece and which may give a hint manuscripts and first editions. Fingering by F. Palme of the overall poetic content. Highly recommended.” The fingering by Martin (International Piano) Of particular interest is the Widmaier traces musical lines detailed introduction to each and supports sensitive sound volume, which includes a history production. There are also Easy Piano Pieces and Dances of the work and valuable special fingering exercises to BA 6573 page 10 information regarding pedalling, assist in the learning of the tempo and phrasing, fingering, Discoverchordal structures. baerenreiter.com articulation and dynamics. 17 PIANO SOLO
Dvořák, Antonín Composers A-Z (1841-1904) Fauré, Gabriel (1845-1924) Piano Compositions 2 H 7040-02 Urtext / Ed. C. Grabowski
Album Leaves / Detailed forewords to the Compositions without title editions off er information on (B. 109/1-4, B. 116, B. 128a, the genesis and signifi cance B. 158) / Furiant op. 12 / of the compositions as well Humoresque in F-sharp maj as valuable suggestions on (B. 138) / Lullaby-Capriccio historical interpretation. (B. 188) / Mazurka op. 56 / Minuets op. 28 / Poetic All the available manuscript Tone-Pictures op. 85 / Polka in and printed sources as well E min (B. 3) / Scottish Dances as piano rolls containing op. 41 / Suite in A maj op. 98 / recordings by the composer Two Little Pearls (B. 156) have been taken into consideration, leading to Slavonic Dances op. 46 new discoveries particularly D i s t l e r , H u g o regarding the Valses-Caprices. (1908-1942) (Series I) for piano solo Arranged by K. Šolc Based on the Œuvres Elf kleine Klavierstücke für H 1359 complètes de Gabriel Fauré die Jugend op. 15b (1936) BA 1803 Slavonic Dances op. 72 (Series II) for piano solo Dvořák, Antonín Arranged by K. Šolc (1841-1904) H 1428 Humoresques op. 101 H 1274 Ebner, Wolfgang (1612-1665) / Muff at, Georg (1653-1704)
Complete Works for Keyboard (Organ) First Edition. Urtext / Ed. S. Rampe
Volume I: BA 8419 Volume II: BA 8460 Ballade op. 19 Georg Muffat was no less BA 10841 significant than Buxtehude, Pachelbel and the Krieger Fauré dedicated his Ballade, brothers as a forerunner to composed in 1879, to his Johann Sebastian Bach. teacher Camille Saint-Saëns. Humoresque in G-flat maj Structurally and in terms of op. 101 No. 7 Wolfgang Ebner was organist its lyrical character the work Urtext / Ed. P. Kvasničkova, and later “Kapellmeister” breaks from the genre’s epic M. Štédroňská at St. Stephen’s in Vienna form and takes on the traits With preface, critical at the same time as Johann of the sonata form. commentary and facsimile Jacob Froberger. He taught pages the future Habsburg emperor Barcarolles NEW 2013 BA 9503 Leopold I and wrote music that BA 10842 was the equal of Froberger’s Piano Compositions 1 in virtuosity and contrapuntal Fauré’s 13 Barcarolles are highly H 7040-01 rigour. representative of his output for piano and are regarded as his Dumka op. 35 / Eclogues First publication of two most characteristic works. (B. 103) / Furiants op. 42 / th outstanding 17 century NEW 2013 Piano Pieces op. 52 / Silhouettes composers Valses-Caprices op. 8 / Tema con variazioni BA 10843 op. 36 / Waltzes op. 54
18 PIANO SOLO
Froberger, Johann Jacob The New Edition of the Frescobaldi, Girolamo (1616-1667) Complete Works will comprise (1583-1643) a total of 11 volumes. New Edition of the Complete Organ and Keyboard Works Keyboard and Organ Works Bärenreiter Urtext with Ed. Ch. Stembridge Urtext / Ed. S. Rampe, assisted many newly discovered with K. Gilbert by K. Gilbert, S. Jutz, K. D. Peik works and L. Praetorius Introductory discussion of Volume I.1 Volume I Recercari et Canzoni franzese genesis, sources, 2 Libro Secondo (1649) performance practice and (Roma, Zannetti, 1615, 1618) BA 8063 BA 8411 editorial method in each volume (Ger/Eng), Volume II critical report (Ger) Libro Quarto (1656). Libro di Capricci e Ricercari (c. 1658) BA 8064 “... this publication of Froberger’s suites will set a Volume III.1 benchmark for future scholastic Keyboard and Organ Works investigation.” from Copied Sources. Partitas (Clavichord International) and Partita Movements, Part 1a BA 8065 “… the definitive edition for his wonderful music …” Volume III.2 (The Diapason) Volume I.2 Keyboard and Organ Works Toccate e Partite d’intavolatura from Copied Sources. Partitas FFurrer,urrer, BBeat eat di cimbalo; libro primo (Rom, and Partita Movements, Part 1b (*1954) Borboni, 1615, 21616) BA 8435 BA 8412 drei klavierstücke (2004) Volume IV.1 B A 9 3 2 6 NEW 2013 Keyboard and Organ Works Volume III from Copied Sources. Partitas Il Secondo Libro di Toccate phasma for piano (2002) 2 and Partita Movements, Part 2 B A 8 5 5 8 (Rom, Borboni, 1627, 1637) BA 8066 BA 8414 Study for Piano (2011) Volume IV.2 BA 9355 “… this new edition must Keyboard and Organ Works stand as the definitve Source for from Copied Sources. Partitas the great man’s work, attracting and Partita Movements, Part 3 the academic as well as the BA 8434 layman by the extremely eloquent approach, …” Volume V.1 “… worth every penny.” Keyboard and Organ Works from (Harpsichord Fortepiano) Copied Sources/Toccatas BA 9211
“This edition will prove to Volume V.2 be a constant source of reference Keyboard and Organ Works from and a stimulant to further Copied Sources/Toccatas engagement – a most welcome BA 9212 in preparation publication.” (Choir & Organ) Volume VI.1 The edition will comprise six Keyboard and Organ Works volumes. from Copied Sources. New Sources, New Readings, New Works 1 BA 9213 Grieg, Edvard (1843-1907) Volume VI.2 Keyboard and Organ Works Easy Piano Pieces and Dances from Copied Sources. Ed. M. Töpel New Sources, New Readings, BA 6575 page 10 New Works 2 BA 9269
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Janáček, Leoš Composers A-Z (1854-1928)
1. X. 1905 “Sonáta” H a n d e l , G e o r g e F r i d e r i c Urtext with fingering / (1685-1759) Ed. L. Kundera, J. Burghauser Fingering by R. Kvapil. Easy Piano Pieces and Dances BA 9501 BA 6578 page 10 In the Mists / V mlhách Urtext with fingering / Ed. L. Kundera, J. Burghauser Fingering by R. Kvapil. BA 9500
Haydn, Joseph (1732-1809) NEW 2014 Complete Piano Sonatas IV Urtext with fi ngering / Ed. B. Moosbauer With fi ngering and notes on performance practice by R. Maurer BA 10804 Keyboard Works I To ap p ear in th e sp r ing o f 20 1 4 First Set of 1720. The Eight Volume IV marks the start of Great Suites HWV 426–433 On an Overgrown Path / the publication of Haydn’s Urtext / Ed. R. Steglich, T. Best Po zarostlém chodnícku complete piano sonatas in BA 4224 Urtext with fingering / Bärenreiter Urtext editions. Ed. L. Kundera, J. Burghauser The late piano sonatas (Hob. Keyboard Works II Fingering by R. Kvapil XVI:40–42 and Hob. XVI:48–52) Second Set of 1733: Suites BA 9502 are imaginative masterpieces, de Pièces pour le Clavecin an indispensable component HWV 434–442 J e ž e k , J a r o s l a v of piano instruction and the Urtext / Ed. P. Northway, T. Best (1906-1942) concert repertoire. BA 4221 Bugatti Step The edition is supplemented H 3156 Keyboard Works III by historically informed A virtuosic piano foxtrot which, Miscellaneous Suites and Pieces fi ngering, which enables First Part as the title suggests, was important aspects of influenced by the composer‘s Urtext / Ed. T. Best 18th century playing technique BA 4222 fascination with the Bugatti to be applied to the modern car. Throughout the piece a piano, as well as notes on pulsating rhythm suggests the Keyboard Works IV classical performance practice. Miscellaneous Suites and Pieces vibration of a Bugatti engine. Second Part Kleeb, Jean Urtext / Ed. T. Best Easy Piano Pieces and Dances (*1964) BA 4223 BA 4631 page 10 Classic goes Jazz Keyboard Works I–IV Flötenuhrstücke B A 8 7 6 0 page 9 in a set Pieces for a Musical Clock BA 4262 Special price arranged for piano Baila Negra. 10 new EN 802 Latin-American Piano Pieces Series Ready to Play Detailed introductory text with notes on performance Janáček, Leoš BA 10604 page 9 practice (Ger/Eng) (1854-1928) Jazzy Piano NEW 2014 Complete Piano Compositions Series Ready to Play Ed. L. Kundera, J. Burghauser BA 10627 page 9 H 6070 To appear in the autumn of 2014
20 PIANO SOLO
Krenek, Ernst (1900-1991)
Piano Sonata No. 5 op. 121 (1950) BA 8193
Piano Sonata No. 6 op. 128 (1951) BA 8194
Piano Sonata No. 7 op. 240 (1988) BA 8185
Sechs Vermessene op. 168 Koželuch, Leopold Antonin (1958) (1747-1818) BA 3507 L i s z t , F r a n z (1811-1886) Complete Sonatas for Keyboard Solo Easy Piano Pieces and Dances Urtext / Ed. C. Hogwood Ed. M. Töpel BA 6577 page 10 Volume I: 12 sonatas from the years 1780–1784 BA 9511 Volume II: 12 sonatas from the years 1784–1786 BA 9512 Volume III: 13 sonatas from the years 1788–1797 Krieger, Johann Philipp BA 9513 (1649-1725) / K r i e g e r , J o h a n n Volume IV: 9 sonatas (1651-1735) from the years 1807–1809, 4 sonatas from the 1770s which Complete Organ and exist only in manuscript Keyboard Works BA 9514 Urtext / Ed. S. Rampe and in preparation H. Lerch
Complete set of 4 volumes Volume 1: J. Krieger: BA 9515 in preparation Musicalische Partien (1697) Liszt, Franz As the foremost representative & Anmuthige Clavier-Übung (1811-1886) of Czech music in 18th century (1699) NEW 2013 Vienna, Leopold Koželuch was BA 8402 Sonata in B min for Piano noted primarily as composer, Urtext / Ed. M. Kube pianist and keyboard teacher. Volume 2: J. Krieger and BA 9650 His 50 keyboard sonatas span J. P. Krieger: Works from his entire career and mark not Copied Sources / of Uncertain Liszt’s Sonata in B minor, only the transition from the Authenticity with Appendices which appeared in 1854, is of harpsichord and clavichord BA 8406 outstanding signifi cance manner to the fully idiomatic within the piano sonata genre. forte-piano style, but also the Bärenreiter’s new Urtext development of the “classical edition off ers a clearly sonata” during three decades structured musical layout (1773–1806). and practical page turns thus providing the best possible Suitable for amateurs as prerequisites for studying and well as professionals; ideal understanding this unique for teaching purposes work. “The whole publication makes me want to play it …” (Early Music Review)
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Composers A-Z
Martinů, Bohuslav (1890-1959)
Film en miniature H 5709
Martinů, Bohuslav Mendelssohn Bartholdy, Felix (1890-1959) (1809-1847) Spring in the Garden Sieben Charakterstücke op. 7; H 3257 Sechs Kinderstücke op. 72 Urtext with fingering / Ed. H. M. Stüwe Fingering by M. Kirschnereit BA 9083
The Charakterstücke op. 7 and Kinderstücke op. 72 are Martinů, Bohuslav Mendelssohn’s most (1890-1959) popular piano albums besides his Songs without Words and Puppets / Loutky I-III the Variations sérieuses op. 54. Revised edition by A. Březina Volume I: H 7875 The edition contains both Volume II: H 7946 piano cycles in the versions Volume III: H 7963 published in the first edition. An extensive appendix also All 3 volumes combined: includes variants and early H 7970 versions which survive in Mendelssohn Bartholdy, Felix different autograph Detailed preface and critical (1809-1847) manuscripts. commentary (Cz/Ger/Eng/Fr) Easy Piano Pieces and Dances Two of Mendelssohn’s most The three volumes of Puppets Ed. M. Töpel B A 6 5 6 8 page 10 famous piano albums with were composed between 1912 pieces of easy to medium and 1925 in reverse order. Songs without Words level of difficulty Urtext with fingering / The charming pieces all differ Ed. R. Larry Todd Different versions taken from one another in character. Fingering by M. Kirschnereit into consideration Martinů’s approach evolves BA 9069 throughout and he displays a “The musical texts are – mature and idiomatic style of This edition includes all the as to be expected by Bärenreiter piano writing. collections printed during – printed in first-class quality Mendelssohn’s lifetime, with fingering and expression The pieces take the characters together with those published markings. In conclusion: of Italian commedia dell’arte posthumously. absolutely recommendable as their theme; Pierrot, The appendix also contains a editions for advanced players.” Colombina and Harlequin. (tastenwelt) Also included are dance and selection of the Songs without ball scenes as well as scenes Words which have survived individually, including two from the ‘personal lives’ of pieces which have not been the puppets. available in modern editions until now.
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Mozart’s Complete Piano Works – Five Volumes in a Slipcase
Complete Works for Piano Solo. Urtext BA 5749
Volume 1: Piano Sonatas I Volume 2: Piano Sonatas II Volume 3: Miscellaneous Works Volume 4: Variations Volume 5: Notebooks of Mozart and His Sister Mendelssohn Bartholdy, Felix (1809-1847) Only Bärenreiter presents Mozart’s piano music with Variations for Piano the definitive Urtext from op. 54, op. 82, op. 83 the New Mozart Edition Urtext with fingering / Ed. H. M. Stüwe Bärenreiter Urtext is at the Large format Fingering by M. Kirschnereit forefront of international (24.3 x 31cm) BA 9082 Mozart scholarship
The Variations op. 54 gave the composer the impetus to study this musical form in great depth. Following on directly from this work, Mendelssohn wrote the Variations in E-flat maj op. 82 and B-flat maj op. 83, published posthumously. These are “lighter” works, both in tonal approach and also in their technical demands.
This publication brings together Mendelssohn’s three most important sets of variations for piano. It is based on the first editions, and for the first time the numerous variants, which survive in different autograph manuscripts, are also included. This offers an insight into Mendelssohn’s compositional process and also widens the field of artistic interpretation possibilities.
A comprehensive edition, taking all variants into consideration iano Solo · Composers
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Concert Rondo in A maj K. 386 Composers A-Z Arranged for solo piano by Cipriani Potter (1792-1871). Mozart, Wolfgang Amadeus Ed. M. Töpel (1756-1791) BA 5768
“Ah, vous dirai-je Maman” The manuscript of Mozart’s Twelve variations in C maj Rondo for piano and orchestra for piano K. 265 (300e) has an incredible history. The Urtext with fingering / almost complete autograph Ed. K. von Fischer score was sold page by page Fingering by M. Kirschnereit at auction in London during BA 5765 the 1830s. Some of the pages auctioned off were even “Ah, vous dirai-je Maman” ripped in half. Not surprisingly, Twelve variations in C maj the original was scattered to e all corners of the globe and is for piano K. 265 (300 ) Sonata in C maj “facile” K. 545 Urtext now incomplete. / Ed. K. v. Fischer Urtext with fingering / BA 4779 Today large sections of Mozart’s Ed. W. Plath, W. Rehm handwritten score have Fingering by M. Kirschnereit resurfaced, but considerable BA 5763 gaps still remain. The only source that contains the entire Notes on interpretation work is an arrangement for (Ger/Eng) solo piano by the composer Cipriani Potter. He produced Preface on the genesis and his arrangement before the history of the work auction took place and (Ger/Eng) published it in 1838 with the added remark: “Arranged Sonata in A maj (with from the original score in the the “Rondo alla turca”) K. 331 author's own hand writing.” Urtext with fingering / Ed. W. Plath, W. Rehm Potter’s arrangement Fingering by M. Kirschnereit preserves the extraordinarily BA 9178 beautiful sound quality of Mozart’s original for performances without Unser dummer Pöbel meint. Complete Piano Sonatas orchestra. Our volume makes 10 Variations in G maj K. 455 Urtext / Ed. W. Plath, W. Rehm this important source available BA 4780 once again to performing Volume 1 musicians. Nos. 1-9 K. 279-284, 309-311 BA 4861 Easy Piano Pieces and Dances BA 5327 page 10 Volume 2 Nos. 10-18 K. 330-333, 457, 475, Fantasy in D min K. 397 (385g) 533 + 494, 545, 570, 576 Urtext with fingering / BA 4862 Ed. W. Plath Fingering by M. Kirschnereit BA 5764 Complete Variations for Piano Urtext / Ed. K. v. Fischer Miscellaneous Works for Piano BA 5746 Urtext / Ed. W. Plath BA 5745
Serenade in G maj “Eine kleine Nachtmusik” K. 525 M o z a r t g o e s J a z z With fingering Arranged by Jean Kleeb Arranged for piano by M. Töpel BA 8761 page 9 BA 9160 page 8
24 “They said I was a musical genius. Only time will tell.”
But what is an urtext edition?
At Bärenreiter the label “urtext” describes Bärenreiter takes on all this background work for a scholarly-critical edition based on all known you, our aim being to produce urtext editions sources. refl ecting the latest musicological research.
In the past, it has often been diffi cult for Our editors, experts in their fi eld, strive to set musicians to really know if what they were down a work as closely as possible to the playing was true to the composer’s intentions. composer’s intentions. This isn’t as easy as Publications were heavily elaborated with it sounds. Bärenreiter’s musicologists often have editors’ own – often questionable – additions and to travel around the world to track down sources interpretations. In order to adequately judge the for a composition. They work like detectives, quality of an edition, musicians would need to deciphering manuscripts which are sometimes examine manuscripts and sources themselves. almost illegible and evaluating confl icting sources. Discover baerenreiter.com 25 PIANO SOLO
Pintscher, Matthias Pièces de Clavecin Composers A-Z (*1971) Édition intégrale Complete Keyboard Works I-III Muffat, Georg Monumento I Urtext / Ed. S. Rampe (1653-1704) / in memoria di Arthur Rimbaud Ebner, Wolfgang per pianoforte (1991) Volume I: The Books from (1612-1665) BA 7276 1705/6 & 1724 · La Dauphine Les petits marteaux Complete Works Nacht. Mondschein BA 6581 for Keyboard (Organ) Scene for piano from the First Edition. Dance Theater Gesprungene Volume II: The Books Urtext / Ed. S. Rampe Glocken (1994) from 1726/27 & 1741 BA 7291 BA 6582 Volume I: BA 8419 Volume II: BA 8460 on a clear day for piano (2004) Volume III: Les Indes Galantes. BA 8593 Balet, reduit a quatre grands concerts (1735/36) Tableau/Miroir for piano. BA 6583 Threnos in two parts (1992) BA 7273 Set of all three volumes: BA 6584 Special price Ramade-Etchebarne, Anita (*1953)
Kids in Concert 10 Piano Pieces for Children Series Ready to Play BA 10602 page 7
Mussorgsky, Modest (1839-1881) NEW 2013 Pictures at an Exhibition A Remembrance of Viktor Hartmann Urtext / Ed. C. Flamm BA 9621 Ravel, Maurice (1875-1937) The piano cycle Pictures at an Exhibition, composed in 1874, Easy Piano Pieces and Dances is not only Mussorgsky’s most Ed. M. Töpel important contribution to the R a m e a u , J e a n - P h i l i p p e BA 6580 page 10 piano repertoire, but holds (1683-1764) This collection contains the through its relationship to composer’s easiest piano Viktor Hartmann’s pictures and Pièces de Clavecin pieces, whereby “easiest” is the translation of this idea into With the composer’s original a relative term when talking a composition, a unique place appended texts unabridged th about a virtuosic output such in 19 century piano repertoire. and with several facsimile as Ravel’s. Alongside famous reproductions (Ger/Fr/Eng). works such as pieces from his Optimum page turns Ed. E. R. Jacobi Valses nobles et sentimentales, Revised edition this selection contains less New readings B A 3 8 0 0 well-known compositions Extensive information on and will encourage pianists the work and performance- to make new discoveries. related issues No distribution rights for France, Italy and Spain.
26 PIANO SOLO
Pavane for a Dead Princess
R a v e l , M a u r i c e (1875-1937) Pavane pour une infante défunte pour piano Urtext / Ed. R. Back, D. Woodfull-Harris BA 9632
Extensive preface (Eng/Fr/Ger)
Originally composed by Ravel for Reicha, Antonín piano solo in 1899 and published (1770-1836) by Demets, this work achieved immediate success and has been 36 Fugues for Piano one of the most beloved works in Ed. V. J. Sýkora the classical canon ever since. BA 9541 No distribution rights for France, Italy and Spain. The Czech composer AntonÍn Reicha (also Anton Reicha) was famous as both an experimental composer and as a teacher and theorist. His 36 Fugues for Piano testify to this experimentalism; they can be seen as a type of “Well-Tempered Piano of the new ages”, basing the traditional Baroque fugue on radically new fundaments.
Rossini, Gioachino (1792-1868)
Péchés de Vieillesse BA 6546
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Atmospheric Piano Music by Satie in Bärenreiter Urtext
Satie, Erik (1866-1925) Ogives Gymnopédies Urtext / Ed. J. Rosteck Suggestions for performance by S. Schleiermacher BA 10806
Satie’s Ogives and Gymnopédies are milestones in the history of modern music. The four metrically free Ogives (meaning pointed arches) reflect the influence of the French New-Gothic or Neo-Gregorian From: Satie, Ogives · Gymnopédies · BA 10806 movement of architecture and music with their clear lines and echo effects. NEW 2013 Gnossiennes Gymnopédies and Gnossiennes are particularly suitable for The three Gymnopédies Urtext / Ed. J. Rosteck piano teaching because of their proceed with a grave, chordal Suggestions for performance easy to medium diffi culty level. momentum, and Satie’s by S. Schleiermacher radically sparse writing makes BA 10807 In both editions, suggestions ironic reference to the dance of for performance are given by young warriors in ancient No distribution rights the Satie specialist Steff en Sparta during gymnopaedia for the USA and France. Schleiermacher. In addition rituals. a detailed foreword by the This Bärenreiter Urtext edition distinguished musicologist off ers new variant readings Jens Rosteck provides valuable and presents Gnossienne No. information on the background 7 in its authentic form for the to the compositions. fi rst time. Easy Piano Pieces and Dances BA 6574 page 10
28 “So I wrote a few tunes. Their legacy is in the hands of my fans.”
As many sources as possible need to be assessed in order to compile a Bärenreiter Urtext edition Isn’t urtext just a copy including sketches, letters, autographs, manuscript copies, proofs, fi rst editions, fi rst of the autograph? editions with autograph corrections, contemporary reviews and comments by contemporaries. As a musician you certainly can appreciate how diffi cult it can be to grasp what the No cost or eff ort is spared by Bärenreiter when it composer actually intended, especially when comes to amassing and piecing together all the we have no recordings of the performances. available information. An indispensable part of Simply looking at the autograph – assuming it every urtext edition is the Critical Commentary exists – is not enough. What if the composer where all editorial decisions and discrepancies made corrections in the fi rst printed edition? between the sources are meticulously recorded. Obviously in this case the autograph only Only in this way can the true genius of the provides part of the story of a composition. composer and his work be revealed.
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d’un Troubadour, later the sixth Composers A-Z Fantasy in C maj NEW 2014 in the collection. The multi- D 760 op. 15 faceted, atmospheric pieces are Schubert, Franz “Wanderer Fantasy” particularly suitable for piano (1797-1828) Urtext / Ed. W. Dürr teaching because of their With performance suggestions charming variety as well as their Easy Piano Pieces and Dances by M. Aschauer moderate technical demands. Urtext / Ed. M. Töpel Newly engraved BA 5639 page 10 BA 10870 To appear in June 2014 These scholarly-critical Urtext editions present the musical text of the New Schubert Impromptus D 899 (op. 90), Edition in a new layout with D 935 (op. post. 142) optimum page-turns. The Urtext / Ed. W. Dürr fingering takes essential Fingering and suggestions for aspects of performance performance by M. Aschauer practice of Schubert’s time as Newly engraved well as performance on the BA 9648 modern concert grand piano into consideration. Detailed In the autumn of 1827 Schubert forewords, suggestions for composed eight Impromptus performance and notes on which were to be published the evaluation of the primary as a complete collection by sources complete the editions. Haslinger in Vienna. When the plan fell through, Schubert offered his Impromptus to Piano Sonatas I Schott as pieces which “could Early Sonatas be issued individually or all Urtext / Ed. W. Litschauer Fantasies for Piano four together”. The name BA 5642 NEW 2014 Fantasy in C min “Impromptus” probably Sonata in G maj - D 894 op. 78 D 2 E / Fantasy in C maj originated with the publisher Urtext / Ed. W. Litschauer “Graz Fantasy” D 605 A / Haslinger, and Schubert also BA 5630 Fantasy in C maj “Wanderer used the title for his collection Fantasy” D 760 op. 15 published later as op. posth. Sonata in C min - D 958 Urtext / Eds. W. Dürr and 142. The lyrical-romantic works Urtext / Ed. W. Litschauer D. Goldberger are suitable for advanced BA 5632 With performance suggestions piano students and have the Sonata in A maj D 959 by M. Aschauer character of sonata movements. With a supplement booklet BA 10862 with all of Schubert’s drafts To appear in June 2014 Late Piano Pieces Urtext with fi ngering / Ed. W. Dürr Urtext / Ed. W. Litschauer BA 5633 Early evidence of Schubert’s Fingering and suggestions for interest in music of the past performance by M. Aschauer Sonata in A maj D 959 can be found in his Fantasy in C Newly engraved Urtext / Ed. W. Litschauer minor of 1811 with its echoes of BA 9634 With notes on performance Mozart’s fantasy in the same Ungarische Melodie D 817 / practice by M. Aschauer key. A recurring motivic snippet Allegretto in C min D 915 / Newly engraved in the virtuosic Graz Fantasy in Drei Klavierstücke D 946 BA 10861 in preparation C major, probably composed between 1818 and 1821, already NEW 2013 Moments Musicaux foreshadows the monumental Sonata in B-fl at maj D 960 D 780 (op. 94) Wanderer Fantasy of 1822. Urtext / Ed. W. Litschauer Urtext / Ed. W. Dürr With notes on performance Fingering and suggestions for Printed with spacious new practice by M. Aschauer performance by M. Aschauer engraving, this new edition Newly engraved Newly engraved unites Schubert’s great BA 10860 BA 9647 fantasies for solo piano in a Scholarly-critical edition based single volume and presents the In 1823 Schubert published his on the New Schubert Edition early work Fantasy in C minor extremely popular Air russe, With practical page turns for the fi rst time in a scholarly- which later became the third critical Urtext edition. piece of the Moments Musicaux, Schubert’s drafts to this and during the following year he work can be viewed on the published the chordal Plaintes Bärenreiter website
30 PIANO SOLO
Schumann’s Popular Piano Cycles
S c h u m a n n , R o b e r t (1810-1856)
Album for the Young, op. 68 Urtext with fi ngering / Ed. H. M. Stüwe Fingering by R. Schirmer BA 9641 in preparation
Schulhoff , Erwin (1894-1942) NEW 2014 Jazz Inspired Works Urtext / Ed. M. Kube BA 9559 Scenes from Childhood op. 15 To appear in May 2014 Urtext / Ed. H. M. Stüwe page 9 Fingering and suggestions for NEW 2014 performance by R. Schirmer BA 9639 Piano Sonatas Nos. 1-3 Urtext / Ed. M. Kube In the spring of 1838 Schumann BA 9560 composed “30 short, sweet To appear in the autumn of 2014 things”, as he called them in a letter to his fiancée Clara Forest Scenes op. 82 Wieck. From these piano Urtext / Ed. H. M. Stüwe miniatures he chose twelve Fingering and suggestions pieces. At the beginning of the for performance following year, now expanded by R. Schirmer with a thirteenth piece, they BA 9640 were published as “Scenes from Childhood” by Breitkopf & Schumann was inspired by Härtel in Leipzig. The collection illustrations for the creation centered on Träumerei, which of his intimate piano cycle is the seventh and the most “Forest Scenes”. The work famous piece in the collection. dates from the years 1848/49, The work was completely a time when the composer misjudged by the critic Ludwig was at his most creative but Rellstab but was enthusiastically also one which was marked received by Liszt. He wrote to by revolutionary unrest and Schumann in June 1839 that political uncertainty. he was frequently playing The last to be written was the “Scenes from Childhood” to Schumann, Clara wistful-filigree Vogel als his then three-and-a-half year (1819-1896) Prophet (no. 7), probably the old daughter Blandine with best-known piece in the cycle. enthusiasm. Romantic Piano Music Ed. F. Goebels The pieces, of moderate Includes fingering and B A 6 5 5 0 Volume 1 technical difficulty, are suggestions for performance B A 6 5 5 6 Volume 2 enchanting in their song-like by Ragna Schirmer poetry, and are a jewel of Schumann, Robert domestic music-making from “This edition should be in (1810-1856) the Romantic Period. every teacher’s library.” (Music Teacher magazine) Easy Piano Pieces and Dances Ed. M. Töpel BA 6567 page 10
Discover baerenreiter.com 31 PIANO SOLO
Skrjabin’s Complete Piano Sonatas
Skrjabin, Alexander (1871-1915) Complete Piano Sonatas Urtext / Ed. C. Flamm Volume 1: Sonatas Nos. 1, 2, 3 and ealier works and fragments BA 9616 No other composer after Beethoven reshaped and reinvigorated the sonata tradition so radically as Skrjabin. The composer did not simply continue it, but surpassed it, which is evident even in these first sonatas. The works show a developing feeling for structural coherence and cyclical unity and are full of expression and poeticism. From: Skrjabin, Complete Piano Sonatas, Vol. 2 · BA 9617 Volume 2: Sonatas Nos. 4 and 5 B A 9 6 1 7 “… these remarkable and “This edition [BA 9617] is a Particular milestones in pioneering works, now nearly a work of art in itself, with many Skrjabin’s output are his Sonatas century old, receive a splendid hidden extras, including the nos. 4 and 5 of 1903 and 1907, editorial makeover, …” entire text of Scriabin’s ‘poem in which we hear forms and (Music Teacher) of ecstasy’, reproduced in three harmonies not heard previously. languages, as well as detailed These works are often given the “Flamm sensibly sifts through background notes …” name “Poème” Sonatas, alluding the various source options (Piano Professional) to Skrjabin’s daring orchestral available to produce an edition works Le Divin Poème and of both sonatas [opp. 4 & 5] Le Poème de l’exstase. that is elegant and practical. Volume 3: Sonatas Nos. 6, 7, 8 For this edition of Skrjabin’s … A landmark issue.” BA 9618 in preparation Sonata no. 5 the editor has (International Piano) drawn on sources which were Volume 4: Sonatas Nos. 9, 10 until recently regarded as lost BA 9619 in preparation or could only be consulted with great diffi culty.
32 PIANO SOLO
Composers A-Z
Smetana, Bedřich (1824-1884)
Album Leaves Urtext with fingering / Ed. J. Novotný BA 9525
Czech Dances Urtext with fingering / Ed. J. Novotný BA 9507
Early Piano Works Urtext with fingering / Ed. J. Novotný B A 9 5 2 7
On the Seashore Concert Etude in C maj. Fantasia on Czech Folksongs Urtext with fingering / Ed. J. Novotný BA 9519 From: Smetana, Dreams · BA 9529
Polkas Volume III.2: Suk, Josef Chorale Settings (Part 2) Urtext with fingering / NEW 2014 Ed. J. Novotny (1874-1935) BA 8486 BA 9506 Dreams and Memories / Volume IV.1: Životem a snem Variations on Song and Dance Rêves Urtext / Ed. J. Gabrielová Tunes Dreams BA 9561 BA 8487 Urtext with fingering / To appear in the autumn of 2014 Ed. J. Gabrielová Volume IV.2: BA 9529 Variations on Song and Dance Sweelinck, Jan Pieterszoon Tunes The six pieces Rêves (Dreams) (1562-1621) BA 8494 reflect two forms: the character piece and the Complete Organ Complete Organ and Keyboard virtuoso piece. Importantly, and Keyboard Works Works in 8 volumes Smetana was also working Urtext / Ed. S. Rampe BA 8500 Special price on the first symphonic tone- poem of Má vlast (My country) Volume I.1: Toccatas (Part 1) The central significance of while composing these six BA 8473 Sweelinck to baroque keyboard compositions. music can hardly be Volume I.2: Toccatas (Part 2) overestimated. Siegbert With historical fingering by BA 8474 Rampe’s scholarly performance the Smetana contemporary edition is the first complete Jindřich Kàan von Albestů Volume II.1: Polyphonic Works edition of Sweelinck’s keyboard (Part 1): Fantasias, Echo music to distinguish between Stockhausen, Karlheinz Fantasias, Ricercari, Capriccio “works of certain authenticity” (*1928) BA 8475 and “works of doubtful authenticity.” This edition, Tierkreis: 11 Schütze – Volume II.2: Polyphonic Works with a commentary in German Sagittarius (Part 2): Fantasias, Echo and English, stands at the for melody and/or Fantasias, Ricercari, Capriccio forefront of scholarship. accord instrument (1975). BA 8476 Series “Neue Hausmusik” With notes on ornamentation B A 8 0 4 5 S c o r e Volume III.1: Chorale Settings (Part 1) “Highly recommended.” BA 8485 (The American Organist)
Discover baerenreiter.com 33 PIANO SOLO
Composers A-Z
Weckmann, Matthias (1621-1674)
Complete Free Organ and Keyboard Works Trojahn, Manfred Urtext / Ed. S. Rampe (*1949) BA 8189
T c h a i k o v s k y , P e t e r Douze Préludes pour Piano This collection includes (1840-1893) Twelve Preludes for Piano all known free organ and Book 1: Nos. 1-6 keyboard works by the famous Easy Piano Pieces and Dances (2006-07) Hamburg organist Matthias Ed. M. Töpel BA 9329 Weckmann. The unusual BA 6576 page 10 diversity of Weckmann’s style Trojahn’s Preludes lead on reveals him to be one of the “An absolute treasure trove from the preludes of Debussy, most important clavier and of delights – and not just for continuing the tradition of organ composers of the 17th younger pianists.” prelude cycles in an original century; his significance has (International Piano) and impressive way. The works been compared by Mattheson are of moderate difficulty, to that of Buxtehude. The Telemann, Georg Philipp with only a few demanding editor was able to compile a (1681-1767) passages. They are suitable for complete first edition of the many different occasions and so-called “Hintze Manuscript” Drei Dutzend Klavierfantasien can be performed either (a collection of 28 clavier (Three Dozen Fantasias for individually or as a cycle. pieces), together with an Piano) extensive preface, a critical B A 7 3 3 report and a list of sources.
Z i p o l i , D o m e n i c o (1688-1726)
Organ and Keyboard Works Edition after the Urtext Ed. L. F. Tagliavini Volume II: Harpsichord Works SM 2204
Suite in B min / Suite in G min / Suite in C maj / Partita in C maj / Suite in A min / Partita in A min From: Trojahn, Twelve Preludes for Piano · BA 9329
34 PIANO SOLO
Vierne’ss CompleteComplete PianoPiano WorksWo in Bärenreiterenreiter UUrtextrtext EEditionsditio
V i e r n e , Louis (1870-1937) Complete Piano Works Urtext / Ed. H. Schauerte- Maubouet with O. Gardon and B. de Leersnyder Volume I NEW 2013 The Early Works (1893–1912) Ed. B. de Leersnyder Deux pièces op. 7 / Suite bourguignonne op. 17 Also includes two Airs de danse (first editions) B A 9 6 1 1 Vierne was a celebrated organist but throughout his life he was also a keen pianist and composer of piano music. He had a particular feeling for the instrument’s tonal fi nesse and riches. The pieces in this volume, which include some works published for the fi rst NEW 2013 time, date from Vierne’s early Volume II Description of the editorial years and are in the tradition of The First World War (1914–1916) method in an extensive critical the Romantic character piece. Trois Nocturnes op. 35 / commentary (Fr/Ger/Eng), In both their harmonic langu- Douze Préludes op. 36 complemented by numerous age and their elegant sonority Ed. O. Gardon facsimiles they reveal Vierne’s individual B A 9 6 1 2 With a detailed foreword musical language. Volume III including information on the With fi rst publications of The Last Works (1916–1922) compositional process and previously unknown Ed. H. Schauerte-Maubouet performance practice compositions of medium B A 9 6 1 3 technical diffi culty No distribution rights for France, Italy and Spain.
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Piano Duet – Collections
Bärenreiter Piano Album Four-Hand For piano duet. In score format. A text booklet describes the pieces and off ers performance suggestions (Ger/Eng/Fr) Ed. M. Töpel BA 6559
From: Bärenreiter Piano Album Four-Hand · BA 6559
Klavier-Festival Ruhr Hradecký, Emil Bärenreiter Piano Album (*1953) Contemporary music for two and four hands Jazz Pieces for Twenty Fingers Ed. T. Bleek, M. Töpel for piano duet With fi ngering by P. L. Aimard, (Cz/Ger/Eng) T. Stefanovich H 7975 BA 9659 page 6 This edition offers jazz In the versions for piano duet, arrangements of popular one part is kept sufficiently dances (waltz, ragtime, easy for the less experienced cha-cha-cha, samba, tango, pianist to play. etc.) for piano duet. One of the pieces also includes the opportunity for improvisation.
36 PIANO DUET / TWO PIANOS
Mozart, Wolfgang Amadeus Piano Duet / (1756-1791) Two Pianos – Fantasia in G min and Fugue Composers A-Z in G maj K. Anh. 32 and 45 Sonata Movement (Grave Bach, Johann Sebastian and Presto) in B-fl at maj (1685-1750) K. 42 for two pianos. Two completions Concerto a due Cembali Ed. M. Töpel senza ripieno BWV 1061a BA 9638 Urtext / Ed. K. Heller, H. J. Schulze Two scores are required NEW 2013 There are many fragments in for performance Mozart’s large compositional B A 5 2 4 5 output which can ideally be used as a basis for a completion. Like the Italian Concerto for In the case of these two solo harpsichord (BWV 971), Slavonic Dances for Piano Duet completions, the editor took the Concerto a due cembali is Ed. J. Burghauser thematically suitable fragments Bach’s only concerto expressly Newly engraved in score format from Mozart’s piano solo written for two unaccompanied 1st Series op. 46: BA 9547 repertoire and arranged them harpsichords. 2nd Series op. 72: BA 9548 for two pianos. In this way, the completions are based almost B r a h m s , J o h a n n e s It was the Slavonic Dances for solely on authentic material. (1833-1897) Piano Duet op. 46 which brought Antonín Dvořák unexpected Serenade No. 1 in D maj op. 11 international fame. An unerring Works for Piano Duet Urtext / Ed. C. Köhn business instinct led Fritz Original works for piano duet Simrock, at the beginning of for piano duet NEW 2013 BA 6570 1878, to ask the Czech composer Appendix: 1. Fragments K. 497a for some works for piano duet (Fr 1787i) and K. 500a (Fr 1791a) Serenade No. 2 in A maj op. 16 into which Dvořák incorporated completed by M. Töpel Urtext / Ed. C. Köhn musical themes from where 2. Miscellaneous Works for for piano duet he grew up. Following in the Organ, Mechanical Organ, BA 6571 footsteps of Brahms’ Hungarian and Musical Clock transcribed Dances, Dvořák refrained from for piano duet “Bärenreiter Urtext at its a literal portrayal of individual Urtext / Ed. W. Rehm best!” (Piano Journal) kinds of dance. As a result, he Appendix ed. by M. Töpel created unique masterpieces of BA 9179 Souvenir de la Russie European music for domestic Six fantasies for piano duet. use and concert performance. This scholarly-critical edition In score format Mendelssohn Bartholdy, Felix based on the New Mozart Ed. M. Töpel (1809-1847) Edition makes Mozart’s works BA 6554 for piano duet available in a Seven Songs without Words revised form. Distler, Hugo op. 62 nos. 1-6 and op. 67 no. 1 (1908-1942) in Mendelssohn’s own The publication also contains an arrangement for piano duet. appendix with the fragments Konzertstück First edition. Ed. R. Langley K. 497a (Fr 1787i) and K. 500a for two pianos (1940) based on B A 8 1 0 1 (Fr 1791a) which are completed the string quartet op. 20 no. 1. by Michael Töpel, as well as BA 1807 Mozart, Wolfgang Amadeus individual pieces for organ, (1756-1791) mechanical organ and musical Dvořák, Antonín clock in transcriptions for piano (1841-1904) Complete Works for two Pianos Urtext with fi ngering / duet. From the Bohemian Forest Ed. E. F. Schmid op. 68 for piano duet (K. 426 and 448 and fragments) Informative forewords to the Revised by F. Bartoš and F. Ferguson/W. Rehm main part and the appendix H 2153 (Larghetto and Allegro in E-fl at together with explanatory notes maj, K.6 deest), based on the on the evaluation of the sources Legends op. 59 edition by G. Croll. Preface by as well as Eingänge and fermata for piano duet M. H. Schmid. Fingering by embellishments by M. Töpel Revised by F. Bartoš, A. Čubr H. P. and V. Stenzl complete this volume. H 1801 B A 9 1 6 1
Discover baerenreiter.com 37 PIANO DUET / TWO PIANOS
Piano Duet / Two Pianos – First scholarly-critical Urtext Composers A-Z edition Of an easy to moderate level Ochs, Siegfried of diffi culty (1858-1929) Includes translations of all “s' kommt ein Vogel geflogen” expression and tempo for piano duet markings (Fr/Ger/Eng) SM 960 Theme of a German folksong with variations in the styles of S c h u b e r t , F r a n z Smetana, Bedřich Bach, Haydn, Mozart, Beethoven, (1797-1828) (1824-1884) Chopin, J. Strauss, Mendelssohn, NEW 2014 Brahms, Schumann, Verdi and Two Overtures “Italian Style” Vltava / The Moldau Wagner. in D maj - D 592 and in C maj - Version for piano duet by the D 597 for piano duet composer Urtext / Ed. W. Litschauer Urtext / Ed. H. Macdonald B A 5 6 2 7 With an introduction by O. Mojžíšová BA 9549 To appear in April 2014 Vltava (The Moldau) is Smetana’s most famous and frequently performed tone poem. It was written between 20 November and 8 December 1874, but only in 1879-1880 with the completion of the entire cycle Má vlast, did the full score NEW 2013 and Smetana’s version for piano duet appear in print.
Urtext edition with Primo and Secondo parts printed Satie, Erik on facing pages (1866-1925) NEW 2014 Works for Piano Duet III 3 Morceaux en forme de Poire Urtext / Ed. W. Litschauer avec une Manière (Nos. 2-5), W. Aderhold (No. 1) de Commencement, Suggestions on performance une Prolongation practice by M. Aschauer, du même & Un En Plus, in score format suivi d’une Redite BA 9645
for piano duet This edition includes Schubert’s Urtext / Ed. J. Rosteck late works, composed between With performance suggestions 1826 and 1828 which are by S. Schleiermacher, amongst the most important in score format works in the piano duet repertoire. Weber, Carl Maria von BA 10809 (1786-1826) To appear in April 2014 Variations on a Theme Easy Pieces for Piano Duet In 1903, Satie composed his from L. J. Ferdinand Hérolds op. 3 famous cycle for piano duet opera “Marie” op. 82,1 (D 908) / Fingering by D. Hanemann with a provocative and Fantasy in F minor op. 103 Ed. J. Kindermann ambiguous title: in French, (D 940) / Allegro in A minor B A 6 5 3 3 poire means “pear” but also op. post. 144 (D 947) / Rondo in “dimwit”. It is a detached and A major op. post. 107 (D 951) / Easy Pieces for Piano Duet ironic commentary on the Fugue in E minor op. post. 152 op. 10 constraints of musical form. (D 952) Fingering by D. Hanemann Ed. J. Kindermann B A 6 5 3 4
38 “I like to think my music will be performed exactly as I intended.”
What can I expect from a Bärenreiter Urtext But it’s not all about musicology. Bärenreiter edition? also satisfi es your practical needs as a performer. Bärenreiter Urtext editions off er: A trustworthy musical text alone does not yet justify the label Bärenreiter Urtext. Integral • Page turns, fold-out pages, and cues where parts of Bärenreiter Urtext editions are: you need them • In the case of solo concertos straight-forward • Information on the genesis and history orchestral reductions of the work • A well-presented layout and a user-friendly • A description of the sources format • Valuable notes on performance practice • Excellent print quality • A Critical Commentary explaining all source • Superior paper and binding discrepancies and editorial decisions. • Solid, “Made in Germany” quality
Discover baerenreiter.com 39 PIANO CONCERTOS
Beethoven, Ludwig van Piano Concertos (1770-1827)
in arrangements for 2 pianos Concerto in C maj (solo piano / for Pianoforte, Violin, Violoncello orchestral reduction) and Orchestra “Triple Concerto” op. 56 Urtext / Ed. J. Del Mar BA 9027-90 ° Bach, Johann Sebastian Piano reduction with three parts (1685-1750) BA 9027-40 Critical Commentary Eight Concertos for harpsichord and strings In Beethoven’s Triple Concerto, Urtext / Ed. W. Breig a piano trio provides the soloists TP 410 Study score – a fi rst 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 Beethoven, Ludwig van varies his treatment of the solo (1770-1827) parts, allowing each instrument NEW 2013 to play alone with the orchestra Concerto No. 1 in C maj for (particularly the cello), using two Pianoforte and Orchestra, op. 15 solo instruments together in Urtext / Ed. J. Del Mar ever new combinations, and BA 9021-90 ° Piano reduction fi nally bringing together all BA 9021-40 three instruments with the Critical Commentary (Eng) orchestra. Beethoven weaves a complex web – the orchestral, Del Mar has found no less than piano, violin and cello voices 17 corrections in Beethoven’s interplaying and entwining – autograph which he made after and he produces a true the Piano Concerto No. 1 in C masterpiece. major op. 15 was published. Piano reductions These have been brought to Bärenreiter’s new Urtext edition light in this new Bärenreiter Concerto I in D min BWV 1052 is a completely fresh revision edition. BA 5224-90 ° of this warm and beautiful showpiece. Errors abounded in Includes Beethoven’s cadenzas Concerto II in E maj BWV 1053 all previous editions, but with BA 5225-90 ° the assistance of three newly- NEW 2013 discovered sources, editor Concerto No. 2 Concerto III in D maj BWV 1054 Jonathan Del Mar has cleaned in B-fl at maj for Pianoforte BA 5226-90 ° up the text, corrected wrong and Orchestra, op. 19 notes and rhythms and (for the Urtext / Ed. J. Del Mar Concerto IV in A maj fi rst time since 1807) presents BA 9022-90 ° Piano reduction BWV 1055 the work in a way that a BA 9022-40 BA 5227-90 ° musician of Beethoven’s day Critical Commentary (Eng) might have recognized, with Concerto V in F min BWV 1056 all necessary information for Although the sources to BA 5228-90 ° directing the piece included in Beethoven’s piano concerto the solo piano part. op. 19 are generally known, Concerto VI in F maj many misconceptions and BWV 1057 for harpsichord, misinterpretations are put right two recorders and strings in this Bärenreiter Urtext edition. BA 5229-90 ° The new Bärenreiter edition Concerto in D min BWV 1052a corrects misreadings of arranged by C. P. E. Bach Beethoven’s autograph which BA 5231-90 ° were already present in the fi rst edition and had subsequently Concerto in G min BWV 1058 ° = Performance material been incorporated into other BA 5230-90 ° available on sale editions of this work.
40 PIANO CONCERTOS
The Beethoven Piano Concertos
Concerto No. 3 NEW 2013 Piano reductions with separate solo piano parts in C min for Pianoforte and Orchestra, op. 37 The piano reductions appear in a new format: As customary in Urtext / Ed. J. Del Mar the 19th century there is a separate solo piano part containing BA 9023-90 ° Piano reduction tutti passages and cues. This aff ords the soloist sensible page turns BA 9023-40 and off ers the possibility to lead the ensemble from the piano. Critical Commentary (Eng) The piano reduction includes the orchestral reduction as well as To appear in April 2014 the solo piano part above it in small print. Beethoven’s Piano Concerto No. 3 is the only concerto where Concerto No. 4 in G maj Concerto No. 5 in E-fl at maj no authentic manuscript exists for Pianoforte and Orchestra for Pianoforte and Orchestra for the solo part. The autograph op. 58 op. 73 – “Emperor” of the score is available whereby Urtext / Ed. J. Del Mar Urtext / Ed. J. Del Mar the articulation, dynamics and BA 9024-90 ° Piano reduction BA 9025-90 ° Piano reduction pedal markings are for the in preparation in preparation most part absent. However, Beethoven oversaw the fi rst 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.
Concerto in D maj for Pianoforte and Orchestra after the Violin Concerto op. 61 Urtext / Ed. J. Del Mar Piano reduction with an Urtext solo piano part and an additional piano part with fingering by Y. Murikami BA 9013-90 ° BA 9019-40 Critical Commentary (Eng)
Del Mar has worked with all known sources to bring together a groundbreaking scholarly critical edition which fi nally provides clarity regarding Beethoven’s solo and tutti markings, as well as his articulation and dynamics in the solo piano part. Of great importance and interest are Beethoven’s original cadenzas as no original cadenzas for the earlier version of op. 61 for violin From: Beethoven, Concerto No. 2 in B-flat maj op. 19 · BA 9022-90 and orchestra exist.
Discover baerenreiter.com 41 PIANO CONCERTOS
Piano Concertos
D i s t l e r , H u g o (1908-1942) Konzertstück op. posth. for piano and orchestra (1937). Piano reduction by the composer B A 2 7 8 3 - 9 0
J a n á č e k , L e o š (1854-1928)
Capriccio for Piano Left Hand Mendelssohn Bartholdy, Felix Mozart, Wolfgang Amadeus and Wind Ensemble (1809-1847) (1756-1791) Urtext / Eds. L. Faltus / J. Procházková Concerto for Piano and Piano Concertos BA 9535 Score with parts Orchestra in E min Reconstructed and completed - K. 175 (No. 5), Concert One of Leos Janáček’s last by R. Larry Todd Rondo in D maj K. 382 chamber music works, the B A 9 0 8 1 Urtext / Ed. M. Flothuis Capriccio, was written in the Score available for sale. Piano reduction by M. Töpel autumn of 1926 at the Solo piano/orchestral reduction BA 5315-90 ° E 20,– suggestion of the pianist available on hire Otakar Hollmann, an invalid - K. 238 (No. 6) in B-flat maj from the First World War. The Mendelssohn specialist Urtext / Ed. M. Flothuis Like his contemporary Paul R. Larry Todd has taken the short Piano reduction by Wittgenstein, Hollmann urged unfi nished score of this piano D. Woodfull-Harris composers to write something concerto and completed the BA 5316-90 ° E17,50 for piano left hand; he composer’s specifi ed succeeded in persuading orchestration of the existing - K. 242 (No. 7) in F maj Bohuslav Martinů, Erwin fi rst two movements; the work “Lodron Concerto” for three Schulhoff and Janáček to do is believed to have it’s origins or two pianos and orchestra. this. Janáček did not want, in the period directly before Edition for 2 soloists and as he put it, to compose a Mendelssohn’s great E minor accompaniment “dance for one leg”, but finally Violin Concerto. To create a 3rd Urtext / Ed. M. Flothuis wrote a four-movement work movement the editor has used Piano reduction by with associations to military the scherzo-like fi nal movement D. Woodfull-Harris music, scored for piano, flute of the E minor Violin Concerto. BA 5389-90 ° E16,9 (piccolo), two trumpets, three Audiences now have the chance 3 copies needed for trombones (preferably valve to hear this “sister” work to the performance trombones because of the famous Violin Concerto fast passages) and a tenor combined with the much loved - K. 246 (No. 8) in C maj tuba. The composer allowed fi nale of opus 64. “Lützow Concerto” the French horn to substitute Urtext / Ed. C. Wolff the tuba. First and second movements Piano reduction by M. Töpel reconstructed from BA 5388-90 ° E 16,50 Urtext based on the Critical Mendelssohn’s short score Complete Edition of the - K. 271 (No. 9) in E-flat maj Works of Leoš Janáček Third movement added “Jeunehomme Concerto” Urtext / Ed. C. Wolff Includes an additional part In-depth preface (Ger/Eng) for French horn Piano reduction by M. Töpel on the history and genesis of BA 4790-90 ° E16,50 the work TP 242 Study score Martinů, Bohuslav With facsimile pages (1890-1959) Incantation Piano concerto no. 4 (1955/56) ° = Performance material = Performance material Piano reduction by K. Solc available on sale available on hire B A 4 3 1 8 - 9 0
42 PIANO CONCERTOS
Mozart, Wolfgang Amadeus Mozart, Wolfgang Amadeus Mozart, Wolfgang Amadeus (1756-1791) (1756-1791) (1756-1791)
(Piano Concertos) - K. 459 (No. 19) in F maj - K. 503 (No. 25) in C maj Urtext / Ed. E. and Urtext / Ed. H. Beck - K. 365 (No. 10) in E-flat maj P. Badura-Skoda Piano reduction by H. Beck for two pianos and orchestra Piano reduction by BA 4742-90 ° E15,50 Urtext / Ed. C. Wolff D. Woodfull-Harris TP 64 Study score Piano reduction by M. Töpel BA 5386-90 ° E16,50 BA 5390-90 ° E19,50 - K. 537 (No. 26) in D maj 3 copies needed for “Coronation Concerto” performance Urtext / Ed. W. Rehm Piano reduction by M. Töpel - K. 413 (No. 11) in F maj BA 5318-90 ° E16,50 Urtext / Ed. C. Wolff TP 90 Study score Piano reduction by M. Töpel BA 4874-90 ° - K. 595 (No. 27) in B-flat maj TP 245 Study ScoreE 16,50 Urtext / Ed. W. Rehm Piano reduction by J. Faber - K. 414 (No. 12) in A maj BA 4872-90 ° E16,50 Urtext / Ed. C. Wolff TP 91 Study score Piano reduction by E. R. Barthel BA 4876-90 ° E16,50 TP 244 Study score - K. 415 (No. 13) in C maj Cadenzas and Lead-Ins to Urtext / Ed. C. Wolff the Piano Concertos in Piano reduction by one volume D. Woodfull-Harris Urtext / Ed. F. Ferguson, BA 4878-90 ° W. Rehm TP 246 Study score - K. 466 (No. 20) in D min B A 5 3 3 7 Urtext / Ed. H. Engel, - K. 449 (No. 14) in E-flat maj H. Heussner In the past, cadenzas and Urtext / Ed. M. Flothuis Piano reduction by J. Faber lead-ins were usually only Piano reduction by M. Töpel BA 4873-90 ° E16,50 published with their BA 5381-90 ° TP 147 Study score respective concertos. This TP 247 Study score E16,50 volume fills a remarkable gap - K. 467 (No. 21) in C maj by publishing, for the first - K. 450 (No. 15) in B-flat maj Urtext / Ed. H. Engel, time in one edition, all of this Urtext / Ed. M. Flothuis H. Heussner music based on the most Piano reduction by W. Giefer Piano reduction recent research evidence. BA 5382-90 ° E16,50 by D. Woodfull-Harris TP 248 Study score BA 5317-90 ° E 30,– Badura-Skoda, Paul - K. 451 (No. 16) in D maj TP 148 Study score (*1927) Urtext / Ed. M. Flothuis - K. 482 (No. 22) in E-flat maj Cadenzas, Lead-ins & Piano reduction by E. R. Barthel Urtext / Ed. H. Engel, Ornaments to the Piano BA 5383-90 ° E16,50 H. Heussner Concertos of W. A. Mozart TP 249 Study score Piano reduction by M. Töpel K. 17, 238, 415, 449, 453, 456, - K. 453 (No. 17) in G maj BA 5387-90 ° E 0 466, 467, 482, 491, 503, 537, 595 TP 149 Study score B A 4 4 6 1 Urtext / Ed. E. and P. Badura- Skoda - K. 488 (No. 23) in A maj Piano reduction by Renowned pianist Paul Badura- Urtext / Ed. H. Beck Skoda has written cadenzas, D. Woodfull-Harris Piano reduction by H. Beck BA 5384-90 ° E 29, lead-ins and ornaments for BA 4740-90 ° E the following Mozart Piano TP 156 Study score TP 62 Study score 0 Concertos: K. 175, K. 284, K. 415, - K. 456 (No. 18) in B-flat maj - K. 491 (No. 24) in C min K. 466, K. 467, K. 482, K. 491, Urtext / Ed. E. and Urtext / Ed. H. Beck K. 503, K. 537 and K. 595. P. Badura-Skoda Piano reduction by H. Beck Piano reduction by M. Töpel BA 4741-90 ° E13,80 BA 5385-90 °16,50 TP 63 Study score
Discover baerenreiter.com 43 PIANO MUSIC IN STUDY SCORE EDITIONS
Johann Sebastian Bach · Wolfgang Amadeus Mozart Bärenreiter Classics · Urtext Study Scores
Bach, Johann Sebastian (1685-1750)
Complete Piano Solo Works Urtext. 4 study scores in a set TP 2002 An amazingly inexpensive study edition presenting all of Bach's clavier music in four large, handy volumes containing the definitive Urtext from the New Bach Edition. This unique edition was prepared by internationally recognized scholars on the basis of all known sources and the latest research findings. As well Volume 1: The Well- Mozart, Wolfgang Amadeus as the many familiar pieces, the Tempered Clavier I & II (1756-1791) reader will also discover works Volume 2: Clavier Übung I - IV, The Piano Concertos which were originally written The Art of Fugue, Ricercari Urtext. 3 study scores in a set by Bach’s contemporaries and Volume 3: English Suites, TP 602 were re-worked and heavily French Suites, Inventions ornamented by Bach. Many and Sinfonias, Notebook for This edition contains of these variants appear here Wilhelm Friedemann Bach, everything handed down by for the first time in print. Each The Notebooks for Anna Mozart in the field of the piano version faithfully reflects the Magdalena Bach concerto. one original source: hybrid Volume 4: Preludes, Individual versions of the sort often found Piano Works, Toccatas, Besides the twenty-seven elsewhere have been strictly Arrangements of Works by original concertos, it also avoided. Other Composers includes the seven »pasticcio concertos« which Mozart wrote as a boy to perfect his technique. Rounding off this compact and comprehensive edition are reproductions of all the fragments, conflicting versions, sketches and alternative cadenzas. The three-volume publication (approx. 2,500 pages) contains the Urtext of the New Mozart Edition with facsimile pages and prefaces (German only).
Full scores to all of Mozart’s piano concertos in study score format
Urtext of the New Mozart Edition
With all fragments, differing versions, sketches and From: Bach, Complete Piano Solo Works, Vol. 1 · TP 2002 alternative cadenzas
44 CHAMBER MUSIC WITH PIANO
Brahms, Johannes Trio with Piano (1833-1897) Trio for Violin, Horn (Viola or Violoncello) and Piano op. 40 Urtext / Ed. Ch. Hogwood BA 9435 Score with parts Brahms’ famous Horn Trio op. 40, composed in 1865 for the natural horn, is a work of considerable signifi cance amongst the composer’s output. Christopher Hogwood draws on a newly discovered source for this Bärenreiter publication, a source that has not been available for any previous edition. We now Dvořák, Antonín learn that Brahms wrote at (1841-1904) least the trio part of the Scherzo movement some twelve years Trio in G min op. 26 earlier – in 1853 – and that it for violin, violoncello and piano Brahms, Johannes was originally intended for solo Ed. A. Pokorný, K. Šolc (1833-1897) NEW 2013 piano. This piano movement is New preface by E. Velická printed in the appendix. (Cz/Eng/Ger) Trio for Violin, Violoncello and BA 9538 Score with parts Piano op. 87 Appendix with the 1853 piano Urtext / Ed. Ch. Hogwood version of the trio movement Dvořák’s second piano trio (1876) documents the transition BA 9436 Score with parts Includes alternative parts for violoncello and viola from the composer’s experimental phase to the NEW 2013 Trio for Violin, Trio for Clarinet (Viola), emergence of his characteristic Violoncello and Piano op. 101 Violoncello and Piano op. 114 style which partly involved the Urtext / Ed. Ch. Hogwood Urtext / Ed. Ch. Hogwood return to defi nite form and BA 9437 Score with parts BA 9438 Score with parts thematic clarity. The main source for this present edition Brahms’ Clarinet Trio, composed was the fi rst printed edition Christopher Hogwood’s in 1891, was inspired by the (1880). scholarly-critical edition of exceptional musicality of NEW 2013 Brahms’ fi nal and perhaps clarinettist Richard Mühlfeld. Trio in F min op. 65 greatest trio is based on two As he did for his horn trio, for violin, violoncello and piano main sources, the fi rst Brahms prepared a viola part Ed. F. Bartoš edition and the autograph. as a possible alternative to the New preface by H.-J. Hinrichsen clarinet. Both scorings were and I. Rentsch (Cz/Eng/Ger) The foreword of this edition rehearsed (the viola part being BA 9564 Score with parts presents detailed information played by Joseph Joachim) prior on contemporary performance to the premiere and publication practise; Hogwood has drawn of the work. Fauré, Gabriel on the comments of Fanny (1845-1924) Davis, a Brahms student, to Viola part included as an Trio for piano, violin and shed light on this. She describes alternative to the clarinet part violoncello op. 120 how Brahms played the trio With a detailed foreword Urtext / Ed. J. W. Sobaskie with Joseph Joachim and (Eng/Ger) on the work’s BA 7902 Score with parts Robert Hausmann at an genesis and performance informal reading (with Clara practice Until now Fauré’s piano trio has Schumann turning pages) in presented musicians with Baden Baden in c. 1895. Davis’ D v o ř á k , A n t o n í n considerable problems, as the descriptions have much to do (1841-1904) score and the separate string parts have offered conflicting with articulation, dynamics Dumkas op. 90 readings. Bärenreiter’s first and tempo fl uctuations; in for piano, violin and violoncello critical edition of this short exactly those aspects of H 1551 Score with parts masterpiece finally unites the performance practice where parts with the score. we lack real direction. No distribution rights for the USA.
Discover baerenreiter.com 45 CHAMBER MUSIC WITH PIANO
Pintscher, Matthias Škroup, František Jan Trio with Piano (*1971) (1801-1862)
M a r t i n ů , B o h u s l a v svelto for violin, violoncello Trio in E-flat maj op. 27 (1890-1959) and piano (2006) for piano, clarinet (violin) and BA 9342 Playing score violoncello Promenades for flute, violin Urtext / Ed. M. Harlow and harpsichord (piano) (1940) BA 9521 Score with parts BA 3327 Score with parts Ravel, Maurice (1875-1937) Trio facile in F maj op. 28 Sonata for flute, violin and for piano, flute (violin) and piano (1936) Trio for Piano, Violin and violoncello BA 3326 Score with parts Violoncello Urtext / Ed. M. Harlow Urtext / Ed. J. Appold BA 9522 Score with parts BA 9418 Score with parts First Urtext editions The editions of Ravel’s classic Two alternative versions and trio known today all stem from scorings of the works the fi rst published edition. Bärenreiter’s scholarly-critical Forewords (Eng/Ger/Cz) and edition, however, goes back to critical commentaries (Eng) Ravel’s autograph copy and not by the editor only corrects the many engraver errors present in existing “I highly recommend both editions, but also reinstates for these works, since they have example the violin passages in fl exible scorings and are movement II (Pantoum) which enjoyable additions to any appear in other editions partly chamber program.” simplifi ed or placed in the piano (American String Teacher) part. “There is a wealth of Mozart, Wolfgang Amadeus Smetana, Bedřich (1756-1791) information here about this captivating work. The parts and (1824-1884) Complete Piano Trios score combined are not Trio in G min for piano, violin for piano, violin and violoncello expensive and well worth this and violoncello Urtext / Ed. W. Plath, W. Rehm excellent publication.” Urtext / Ed. F. Bartoš, J. Plavec, BA 4787 Score with parts (ESTA, UK) K. Šolc BA 9518 Score with parts Trio in E-flat maj K. 498 No distribution rights “Kegelstatt-Trio” for piano, for France, Italy, and Spain. Smetana took a keen interest clarinet (violin) and viola in the interpretation and study Urtext / Ed. W. Plath, W. Rehm of chamber music throughout BA 5325 Score with parts S c h u b e r t , F r a n z his life. His own compositions (1797-1828) were, without exception, Six Sonatas K. 10-15. unusual works, as was already Early Sonatas II for keyboard Complete Piano Trios evident in the Piano Trio in (harpsichord), violin (or flute) for piano, violin and violoncello G min of 1855. He wrote this and violoncello Urtext / Ed. A. Feil in memory of his daughter Urtext / Ed. W. Plath, W. Rehm Bedřiška who died before her BA 4756 Score with parts - Trios in B-flat maj 5th birthday. Smetana D 28 and in E-flat maj D 897 fi nished the composition only Two Sonatas K. 46d and 46e op. post. 148 three months after her death. for violin and violoncello. BA 5626 Score with parts Arranged for violin, violoncello ad lib. and piano by M. Töpel - Trio in B-flat maj D 898 op. 99 Spohr, Louis Based on the Urtext of the New BA 5607 Score with parts (1784-1859) Mozart Edition / Ed. D. Berke BA 8123 Score with parts - Trio in E-fl at maj D 929 op. 100 Trio in B-flat maj op. 133 BA 5610 Score with parts for piano, violin and violoncello Ed. O. Leinert BA 7570 Score with parts
46 CHAMBER MUSIC WITH PIANO
Quartet with Piano Quintet with Piano
Dvořák, Antonín Dvořák, Antonín (1841-1904) (1841-1904)
Bagatelles op. 47 for two Piano Quintet in A maj violins, violoncello and piano for piano, two violins, viola and H 2271 Score with parts violoncello op. 5 Piano Quartet in D maj H 2783 Score with parts op. 23 for piano, violin, viola and violoncello Piano Quintet in A maj op. 81 H 2552 Score with parts for piano, two violins, viola and violoncello Ed. A. Čubr NEW 2013 Fauré, Gabriel New preface by D. Beveridge (1845-1924) (Cz/Eng/Ger) BA 9573 Score with parts Piano Quartet in C min, op. 15 for piano, violin, viola and violoncello Urtext / Ed. D. Herlin F u r r e r , B e a t BA 7903 Score with parts (*1954)
Piano Quartet in G min, op. 45 for spur for piano and string piano, violin, viola and violoncello quartet (1998) Urtext / Ed. D. Herlin B A 7 4 2 3 S c o r e , BA 7904 Score with parts Parts in slipcover First Urtext editions of these works Mozart, Wolfgang Amadeus (1756-1791) Mozart, Wolfgang Amadeus Chamber Music Editions Dvořák, Antonín (1756-1791) of the Piano Concertos (1841-1904) for two violins, viola, Quartet in G min K. 478 for piano, violoncello and piano Piano Quartet violin, viola and violoncello Piano reductions with in E-fl at maj op. 87 Urtext / Ed. H. Federhofer string parts for piano, violin, viola and BA 4728 Score with parts Urtext / Ed. C. Wolff violoncello Ed. A. Pokorný, K. Šolc Quartet in G min for piano, - Concerto in F maj K. 413 New preface by E. Velická violin, viola and violoncello (No. 11) (Cz/Eng/Ger) 40 pages facsimile and BA 4875 E21,50 BA 9537 Score with parts 14 pages text; bound ISBN 978-3-7618-1042-2 - Concerto in A maj K. 414 Dvořák composed his second (No. 12) Piano Quartet in E-fl at major Quartet in E-flat maj K. 493 BA 4877 E21,50 op. 87 in the summer of 1889 for piano, violin, viola and - Concerto in C maj K. 415 during a torrent of creativity: violoncello (No. 13) “My head is so full, if a human Urtext / Ed. H. Federhofer BA 4879 E21,50 being could only write it all BA 4729 Score with parts down straight away! […] It is - Concerto in E-flat maj K. 449 unexpectedly easy and the Suk, Josef (No. 14) melodies simply fl ow (1874-1935) NEW 2013 BA 4871 towards me. Thanks be to God!” Piano Quartet in A min op. 1 These words could describe S c h u b e r t , F r a n z for piano, violin, viola and the quartet itself, a work with (1797-1828) characteristic carefree tone violoncello and clear nationalistic Urtext / Ed. Z. Nouza Quintet in A maj “Trout colouring. The primary source BA 9546 Score with parts Quintet” D 667 op. post. 114 for this publication was the for piano, violin, viola, First scholarly-critical edition fi rst edition (1890). violoncello and double bass Standard work of Czech music Urtext / Ed. A. Feil BA 5608 Score with parts
Discover baerenreiter.com 47 CONTINUO METHOD
Christensen, Jesper Bøje others. These manuals contain 18th Century Continuo Playing practical tips for playing from A Historical Guide to the a figured bass. Christensen Basics. then adds comments and Translated by J. B. Robinson examples of his own. (2002). 155 pages; hardcover In addition to demonstrating English edition how musicians played at the B A 8 1 7 7 time, Christensen succinctly summarizes the way figured French edition bass was taught and studied, B A 8 1 7 6 which can be of great help the Schola Cantorum in Basle, for performers today. In recent years there has been shows readers how to produce a huge increase of interest in stylistically accurate figured historical performance bass realisations, whether “ … an instructive and practice. Groundbreaking written beforehand or illuminating book, one which research and a heightened improvised in performance. belongs on the music rack of awareness have greatly He takes an unusual approach: even experienced continuo influenced the way continuo Christensen presents the players.” (Notes) is played. various figured bass manuals of the early eighteenth century In his figured bass tutor, Jesper by Dandrieu, St. Lambert, Bøje Christensen, a teacher at Heinichen, Telemann and
Wolfgang Amadeus Mozart Piano Concerto in C minor K. 491 BÄRENREITER FACSIMILE
NEW 2014
Facsimile of the autograph When composing his Piano This facsimile edition enables score held at the Royal College Concerto K. 491 Mozart made everyone to form their own of Music, London. With a an exception by producing opinion of the questionable commentary by Robert Levin sketches that he later enlarged passages. Mozart’s work and extensively revised for the appears here for the fi rst time Documenta musicologica II:48 score. On the one hand this in a colour facsimile, making 74 pp. of facsimile and allows us to retrace his creative it possible to easily recognise approx. 40 pp. of commentary process, on the other hand in the contrasting colours of ink. (Eng/Ger), half-leather binding some passages the defi nitive ISBN 978-3-7618-1927-2 readings are almost illegible, A fascinating insight into To appear in May 2014 especially in the piano part. Mozart’s art of composition
48 GIFT ITEMS
Bärenreiter Urtext Bärenreiter Notes
Gift Items A student lesson book A general note book A gift
Format: DIN A 6 (10.5 cm x 14.8 cm / 4.1 inches x 5.8 inches) 32 pages · binding: stapled
BA 8100 Mozart red BA 8100-16 Mendelssohn blue BA 8100-17 Satie pink
ÇJ^[oiW_Z ?mWiWcki_YWb ][d_ki$Edbo j_c[m_bbj[bb$È
Set of 5 postcards Notes Notes (Bach, Beethoven, Brahms, Mozart, Schubert) BA 8097-15 ......
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Magnet “Bach” BA 8098-15 Magnet “Beethoven” BA 8098-16 Magnet “Brahms” BA 8098-17 Magnet “Mozart” BA 8098-18 Magnet “Schubert” BA 8098-19 My Progress
Music Lesson Book 14.8 x 21 cm. 36 pages BA 9670
C o n t a i n s a l t e r n a t i n g pages with musical staves and regular writing lines. Inserted is a page with 20 stickers in colour.
10 Pencils in a set BA 8099-15
Discover baerenreiter.com 49 INDEX BY COMPOSERS
B G P
Bach, Carl Philipp Emanuel 11 German Organ and Keyboard Piano Album Bärenreiter Bach, Johann Sebastian Music from Bach‘s Period 4 Contemporary Composers 6 10, 11, 12, 13, 37, 40, 44 German Organ and Keyboard Pintscher, Matthias 26, 46 Badura-Skoda, Paul 43 Music of the 17th Century 4 Bärenreiter Notes 49 Grieg, Edvard 10, 19 R Bärenreiter Piano Album Baroque 5 H Ramade-Etchebarne, Anita 7, 26 Bärenreiter Piano Album Early Rameau, Jean-Philippe 26 20th Century 6 Handel, George Frideric 10, 20 Ravel, Maurice 10, 26, 27, 46 Bärenreiter Piano Album Haydn, Joseph 10, 20 Reicha, Antonín 27 Four-Hand 36 Hradecký, Emil 9, 36 Rossini, Gioachino 27 Bärenreiter Piano Album Romantic J S 5 Bärenreiter Piano Album Vienna Janáček, Leoš 20, 42 Satie, Erik 10, 28, 38 Classic 5 Ježek, Jaroslav 20 Schubert, Franz 10, 30, 38, 46, 47 Bärenreiter Piano Moments 8 Schulhoff , Erwin 9, 31 Bärenreiter Sonatina Album 5 K Schumann, Clara 31 Barraqué, Jean 13 Schumann, Robert 10, 31 Beethoven, Ludwig van Klavier-Festival Ruhr Bärenreiter Skrjabin, Alexander 32 10, 14, 40, 41 Piano Album 6, 36 Škroup, František Jan 46 Brahms, Johannes Kleeb, Jean 9, 20 Smetana, Bedřich 33, 38, 46 10, 15, 16, 37, 45 Koželuch, Leopold Antonin 21 Spohr, Louis 46 Krenek, Ernst 21 Stockhausen, Karlheinz 33 C Krieger, Johann 21 Suk, Josef 33, 47 Krieger, Johann Philipp 21 Cabezón, Antonio de 16 Sweelinck, Jan Pieterszoon 33 Chabrier, Emmanuel 16 L T Chopin, Frédéric 10, 16 Christensen, Jesper Bøje 48 Liszt, Franz 10, 21 Tchaikovsky, Peter 10, 34 Classic goes Jazz 9, 20 M Telemann, Georg Philipp 34 Cofalik, Antoni 7 Trojahn, Manfred 34 Twardowski, Romuald 7 D Martinů, Bohuslav 22, 42, 46 Mendelssohn Bartholdy, Felix V Debussy, Claude 10, 17 10, 22, 23, 37, 42 Distler, Hugo 18, 37, 42 Mozart goes Jazz 9, 24 Vierne, Louis 35 Dvořák, Antonín 18, 37, 45, 47 Mozart, Wolfgang Amadeus Dvořák, Milan 9 8, 10, 23, 24, 37, 42, 43, W 44, 46, 47, 48 E Muff at, Georg 18, 26 Weber, Carl Maria von 38 Mussorgsky, Modest 26 Weckmann, Matthias 34 Easy Classics for Piano 5 Easy Piano Pieces and Dances 10 O Z Ebner, Wolfgang 18, 26 Ochs, Siegfried 38 Zipoli, Domenico 34 F Organ and Keyboard Music at the Salzburg Court 1500 – Fauré, Gabriel 18, 45, 47 1800 4 Frescobaldi, Girolamo 19 Organ and Keyboard Music of the Froberger, Johann Jacob 19 Imperial Court Chapel From Handel to Ravel 5 Vienna 1500 – 1700 4 Furrer, Beat 19, 47
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