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Die Entführung Aus Dem Serail : German singspiel in three acts

A Taste Of Schubert : For Medium Voice

A Taste Of Schubert : For High Voice

Spazio Immergente

Nun danket alle Gott

Magnificat Anima Mea

Samson HWV 57

Jazz Inspirations for Organ, Vol. 4

Works For Male Choir - Equal Voices : Volume 2

Petite Messe Solennelle

Petite Messe Solennelle

Viola Recital Album : First Position - Volume 4

Viola Recital Album : First Position - Volume 2

Viola Recital Album : First Position - Volume 3

Viola Recital Album : First Position - Volume 1

DKK 149.00
1

Six Suites For Violoncello Solo : Bwv 1007-1012

Six Suites For Violoncello Solo : Bwv 1007-1012

Urtext edition with articulation markings - Soft-cover performing edition. When you think cello, you think of Bach’s immortal cello suites. The suites take centre stage in the cello literature. They aretimeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But thecomposer’s autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ inmanydetails, the articulation and phrasing being particularly ambiguous. At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed tothe cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike. This new edition, based on volume 4 of the NewBach Edition – Revised (NBArev), now completes Bärenreiter’s collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusionsregarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach'sday. The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were addedto the musical text if they appeared in the majority of the sources. “This edition does not present a perfect reconstruction of the lost autograph; no editor could claim to do so. Instead, I have attempted to providemusicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.” - Urtext edition with articulation by the editor on

DKK 311.00
1

Six Suites For Violoncello Solo : Bwv 1007-1012

Six Suites For Violoncello Solo : Bwv 1007-1012

Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach’s immortal cello suites.The suites take centre stage in the cello literature. They are timeless andbeautiful and accompany cellists from their student years up through their professional career at the highest level.Appropriately and not surprisingly there are countless editions of the suites. But the composer’s autographhas not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulationandphrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approachedthe editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition Revised (NBArev), nowcompletes Bärenreiter’s collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently thegenesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based onthese findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority ofthe sources. “This edition does not present a perfect reconstruction of the lost autograph; no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the survivingmusical text of the six cello suites and to shed light on the options which the Bach sources offer.”- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical

DKK 677.00
1

Faust : Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)

Faust : Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)

Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The earlyversions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in aseparate edition BA 8713 in 2016.)Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching andduring the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire sourcematerial now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions inwhose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that isrooted in the tradition of the opéra comique.Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin andMarguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”,and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed.Only in details of orchestration do other numbers differ from the well-known pieces.

DKK 12142.00
1