Concerto K 246 Do

I?d do anything for love

Es ist ein Ros Entsprungen

I have embedded this internationally well-known melody in a harmonic room of bells which is rendered by the male voices. To enhance the feeling of two independent entities, the melody and the bell ostinato are performed in different metres. Tension increases in the second verse when the melody is performed in a canon but dissipates at the end of the piece.” (Marten Jansson)

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

Early String Ensemble Playing : 1. Violin, 2. Violin (Viola) Violoncello

The Sassmannshaus “Early Start” string methods cultivate playing together as early as possible, initially in duets. However playing in larger mixed ensembles is also encouraged and this tried-and-trusted edition for strings provides the perfect start for this. The first songs can all be performed in canon: each piece is notated in violin, viola and bass clef so that all three string instruments can play together in any number and combination. The collection then continues with through-composed pieces by such composers as Johann Valentin Rathgeber and Johann Joseph Fuchs. Here the middle part may optionally be performed by a viola or second violin.

Die Entführung Aus Dem Serail : German singspiel in three acts

“I know for a fact that the Emperor is proposing to mount a German opera in Vienna, and that he is making every effort to find a young Kapellmeister who understands German, has talent and is capable of striking out on a newpath. [...] I think it would be a good thing for me provided, of course, that the pay is good. If the Emperor will give me a thousand gulden, I will write a German opera for him.”Thus Mozart in a letter of 1011 January 1778 from Mannheim to his father, Leopold. He continued by asking his father to “write to every good friend in Vienna you can think of and say that it is in my power to do honor to the Emperor. If he won’t take meonany other terms, then let him try me with an opera. After that he can do what he likes for all I care.”Urtext of the New Mozart EditionFull score (BA4591-01), vocal score (BA4591-90) and studyscore format 22.5 x 16.5cm (TP311) available for salePerformance material available for hire (BA4591-72)

A Taste Of Schubert : For Medium Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

Spazio Immergente

Innovative work by the Siemens prize winner 2018 (the “Nobel prize” of music)Beat Furrer’s Duo “Spazio Immergente I” (everlasting space) leads an over2000-year-old text of visionary breadth into fascinating worlds of sound – with voice, language, and breath. The ancient poet Lucretius describes a concept of dislimitation and apocalypse, whose timelessness lends thischallenging, musically innovative dialogue an incomparable urgency: “... that the walls of the universe do not suddenly flee like flames into an unfathomable void, ... and nothing, not a vestige remains –abandonedspace.”– Valuable addition to the repertoire– Impressive concertante duo

A Taste Of Schubert : For High Voice

Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder œuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings.

Magnificat Anima Mea

Magnificat for a Chorus of four mixed voices and Basso continuoPachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal compositions. They are in the best sense of the word 'Gebrauchmusik', that isfunctional music for the church service on Sundays and feast days, for these choral works are always closely associated with the seasonal liturgical themes by means of themnatic employment of the appropriate choralecantusfirmi.Score & Basso continuo (BA2877) available for sale

Nun danket alle Gott

Nun danket alle Gott (Now thank we all our God)MotetPachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal compositions. They are in the best sense of the word 'Gebrauchmusik', that isfunctional music for the church service on Sundays and feast days, for these choral works are always closely associated with the seasonal liturgical themes by means of themnatic employment of the appropriate choralecantusfirmi.Score & Basso continuo (BA2873) available for sale

Samson HWV 57

Handel composed Samson directly after completing the 'Messiah'. After its premiere in 1743 in the Covent Garden Theatre in London, the work rapidly became one of the composer’s most successful oratorios alongside 'Esther' and'Judas Maccabaeus'. This probably had as much to do with the popular Old Testament story of the libretto as with Handel’s masterly shaping of the arias and choruses.By including some movements in the appendix, this editionmakes it possible for the first time to perform the work in its original 1741 version. The edition is based on the complete edition volume of the 'Halle Handel Edition' (BA 4099), offering the complete music text of theoratoriofor the first time. Scholarly-critical edition based on the Urtext of the 'Halle Handel Edition'Idiomatic piano reductionForeword (Ger/Eng

Jazz Inspirations for Organ, Vol. 4

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

Works For Male Choir - Equal Voices : Volume 2

With only one exception, Gade composed his works for male choir with accompaniment for Danish choral societies, numerous of which had been founded across the country since 1839. These societies were often closely connected with professional associations, making them equally important for musical and social matters.This volume contains five occasional works for male choir with accompaniment that were composed between around 1838 and 1883. Three of them were intended for church usage (two funerals and one wedding).Among the works for equal voices and accompaniment in this volume, “Aarstidsbilleder” op. 51 is the longest. It was composed for the women of The MusicSociety in Copenhagen and conducted by Gade himself during the 1871/72 seasons.The appendix contains works that were completed, but do not allow for definitive decisions regarding their final presentation.

Requiem

The arrangements in this collection represent 80 per cent of Duruflé’s entire a cappella œuvre, with three from the four Quatre Motets sur des thèmes grégoriens Op. 10 (1960) alongside Notre Père Op. 14 (1977/1978). Given Duruflé’s legendary perfectionism and resulting tiny catalogue (Notre Père is his final opus), arrangements of these works, some of the most significant in the 20th-century choral canon, have been approached with the utmost care – hence the decision to omit the second Op. 10 motet, Tota pulchra es; it was deemed that there was no satisfying way to bring the original tessitura and divisi of the upper voices into the SAM-Klang mould. Throughout the three motets, Duruflé combines Gregorian chant and polyphony; the chant is always present in one or more voice. Notre Père is chant-like, albeit not Gregorian, and has a simpler homophonic structure. Originally composed for unison male voices and organ, the version here is based on the four-part a cappella version published a year later. The references to I and II in Ubi caritas et amor refer back to the original version where the altos alternate the text in two separate choirs. There is no requirement to replicate this when performing from the SAM-Klang edition. The name SAM-Klang takes the three voice parts from the arrangements – Soprano, Alto and Men – and combines it with the Scandinavian and German words for ‘sound’ to create the portmanteau word ‘sound together’ or ‘harmony’. The SAM-Klang series offers basic and advanced choral repertoire arranged for soprano, alto and one male voice- part. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire. For further information and to discover more about SAM-Klang, including recordings, translations, pronunciation guides, videos, existing and new volumes in the series, please visit www.sam-klang.com

Petite Messe Solennelle

The “Petite Messe solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received itsfirst performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scalesacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass tooheavily in later arrangements.

Petite Messe Solennelle

The “Petite Messe Solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration ofher private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s most important sacred works.The unusual instrumentation with two Pianosand Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacredcompositionsas written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers mightorchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on theUrtext of the series “Works of Gioachino Rossini”.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

Viola Recital Album : First Position - Volume 4

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 3

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 2

These volumes contain a wide selection of easy recital pieces. They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces arewritten entirely in first position, they can be used just after a few months of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may beplayed by the teacher or an advanced student. Alternatively a second viola part allows duet playing with the teacher during lessons.The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start ontheViola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the studentto solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces apleasing and clear sound.- New pieces to supplement the Sassmannshaus Viola method- All pieces in first position- Include an additional viola part for duet version and a piano accompaniment

Viola Recital Album : First Position - Volume 1

Viola Recital Album Volume 1: 9 Recital Pieces in First Position for Viola and Piano or Two ViolasViola Recital AlbumVolumes 1-4 (BA8990-BA8993)These volumes contain a wide selection of easy recital pieces.They are designed as companion volumes to the Early Start on the Viola method but work equally well as a supplement to any other viola method. As all pieces are written entirely in first position, they can be used just after a fewmonths of lessons. Well-known as well as unfamiliar pieces provide welcome additional repertoire for young students and teachers.The piano part may be played by the teacher or an advanced student. Alternatively asecondviola part allows duet playing with the teacher during lessons. The Viola Recital Album, Volume 1, can be used as a supplement to the Early Start on the Viola method, Volumes 1 and 2 (BA 9686 and BA 9687). The 18 pieces inVolume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowingtechniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound.New pieces to supplement the SassmannshausViola methodAll pieces in first positionInclude an additional viola part for duet version and a piano accompaniment

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

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.

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