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Leonore Overture No. 3

Leonore Overture No. 3

Of the four overtures that Beethoven composed for his only opera, the “Leonore Overture” No. 3 is the most popular. The first reviewer found fault with it for its “incessant dissonances and overblown fluttering of the violins” (Wiener Theater-Zeitung, 1806), but it soon became famous as “one of the most imposing, difficult, yet richest and strangest of compositions” (Allgemeine Musikalische Zeitung, 1810). This version of the “Leonore Overture” quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.

DKK 430.00
1

Serenade no. 3 H 218

Serenade no. 3 H 218

Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound andform. It is from this period that four short serenades also originate (1932), each with a different instrumentation. The serenades were issued by the Prague publishing house Melantrich in 1949.Their premiere took place twoyears previously on 16 October 1947 and was performed by members of the Prague Symphony Orchestra (FOK). Although the study score of the Serenades Nos. 1 and 3 was published while the composer was still alive, he was in fact notinvolved in preparing this edition: indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.

DKK 175.00
1

Serenade no. 3 H 218

Serenade no. 3 H 218

Unusual instrumentations were by no means the exception in the chamber music works of Bohuslav Martinu, most notably the works he wrote in Paris in the 1920s and 1930s being characterised by his experimentation with sound andform. It is from this period that four short serenades also originate (1932), each with a different instrumentation. The serenades were issued by the Prague publishing house Melantrich in 1949.Their premiere took place twoyears previously on 16 October 1947 and was performed by members of the Prague Symphony Orchestra (FOK). Although the study score of the Serenades Nos. 1 and 3 was published while the composer was still alive, he was in fact notinvolved in preparing this edition: indeed, the performance material also appeared in print without his participation in 1954. It was therefore decided to use the autograph score as the principal source for this edition.

DKK 141.00
1

Mass in G minor BWV 235 Lutheran Mass 3

Mass in G minor BWV 235 Lutheran Mass 3

Mass G minor BWV 235 'Lutheran Mass No.3'for Alto solo, Tenor solo, Bass solo, mixed choir (SATB) and orchestraOften overshadowed by the more famous Mass in B minor, the four Lutheran Masses feature glorious chorusesand sincerely moving arias. They are largely taken from various cantata movements and adapted to the Mass texts. Urtext of the New Bach EditionFull score, performance material and vocal score for all 4 Masses(BA5182-BA5185) available for sale

DKK 141.00
1

Horn Concerto in E-flat major No. 3 : KV 447

Horn Concerto in E-flat major No. 3 : KV 447

The Bärenreiter piano reduction of Mozart's Horn Concerto No.3 In E Flat K.447 (BA5312a) has an idiomatic and uncluttered keyboard part. The reduction is conceived for performances with keyboard as well as forrehearsal purposes for renditions with orchestra.Franz Giegling’s editorial work on the concertos in the New Mozart Edition is the definitive scholarly-critical publication and is based naturally on every knownsource.The publication reflect the needs of performers today. It contains clearly laid out solo horn parts in E-flat and F, a detailed historical preface commenting on the sources and a special brochure containingcadenzasand “ Eingänge ”. The cadenza and “ Eingänge ” brochure offers for the first time in print the important cadenzas by Dennis Brain, Timothy Brown and Dominic Nunns. The cadenzas are presented in E-flat and then in aslightly altered version for the natural horn. All of the material has also been transposed and presented for the valve horn.

DKK 217.00
1

School of Bowing Technique for Violoncello op. 2/3 : Book 3

School of Bowing Technique for Violoncello op. 2/3 : Book 3

Otakar Ševcík’s op. 2 is a fundamental tutor for teaching the violin. It focuses on the elementary problems of right-hand technique which Ševcík practises in 4,000 variants of systematically organized exercises for all bowings. This famous tutor has remained in use to the present day and is equally valued by players of other string instruments. The distinguished cellist Tomáš Jamník has arranged the “School of Bowing Technique” for the violoncello, taking into account its differences from the violin. He has transcribed individual exercises for the violoncello without neglecting Ševcík’s original pedagogical aims. As a result, this edition differs fundamentally from the onlyknown cello arrangement of this opus by Louis R. Feuillard.

DKK 179.00
1