| | 15 recital pieces
Fairly easy to moderately difficult
Audio recordings available online
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| Metelka, Jakub | Little Virtuoso
15 Pieces for Piano | |
| BA 11569 | EUR 13.50 | 9790260109339 | This new piano album by the acclaimed Czech pianist, teacher and composer Jakub Metelka (born 1986) contains 15 recital pieces – short, witty, characteristic compositions with flawless melodic, harmonic and pianistic workmanship. It allows little virtuosos not only to train their technical skills (from fairly easy to moderately difficult), but also to sharpen their grasp of the pieces' moods and to stretch their musical imagination. Accompanying the edition are attractive illustrations by Andrea Tachezy.
The album provides an ideal complement to the composer's internationally successful "Modern Piano Studies" (BA 11559).
Audio samples for all pieces are available from our website: Just follow the link To the product and click on “Multimedia”. | | |
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| | Ground-breaking Urtext edition based on primary sources never consulted before
With a Preface (Eng / Ger), Critical Commentary, and detailed Performing Practice Commentary (Eng)
With an Urtext violin part, as well as a second part with fingering and other performance markings (both including an appendix with Wasielewski's alternative version of Romance no. 1)
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| Schumann, Clara | | Three Romances for Violin and Piano op. 22 | BARENREITER URTEXT
Editor: Ross, Jacqueline | | BA 10947 | EUR 19.95 | Score with Parts | 9790006569960 | The Romances op. 22 are today among Clara Schumann's most popular chamber music works. For violinists and pianists, they're also of particular importance due to the wealth of information by Schumann, Joseph Joachim, and Wilhelm Joseph von Wasielewski on fingering, bowing, and phrasing in these three pieces.
While working on the composition and publication of the Romances op. 22, Schumann was in close contact with these two great violinists of the nineteenth century. She consulted Wasielewski while completing an early version of Romance no. 1, while Joachim was involved in a later, complete version and the preparation of the first edition.
Jacqueline Ross' scholarly-critical edition is the first to include, in addition to the first edition, the numerous manuscript sources that survive today, such as: Schumann's draft manuscript, presentation autographs for Wasielewski and Joachim, as well as copyists' parts once owned by the two violinists.
This edition has two separate parts for the violin, allowing its use in two ways: first, as a straightforward Urtext edition; and second, as an edition informed by historical performing practice, supported by the detailed Performing Practice Commentary on nineteenth-century violin and piano technique.
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| | Often considered one of Beethoven's most personal compositions
New scholarly-critical edition by Jonathan Del Mar
Beethoven's pencil markings meticulously evaluated |
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| Beethoven, Ludwig van | | String Quartet in C-sharp minor op. 131 | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | BA 9031 | EUR 26.95 | Set of Parts | 9790006568536 | | BA 9031-40 | EUR 35.95 | Critical Commentary | 9790006568529 | Many anecdotes surround String Quartet op. 131: Beethoven is said to have considered it to be his finest quartet and of his late period works, the one dearest to his heart. It is also believed that the composer invested so much of himself in it; his ailing health, the social isolation brought about by his deafness and the suicide attempt of his nephew Karl. In addition it was reported that Franz Schubert asked to hear this piece once more on his deathbed.
Even if these anecdotes are not all true, they reveal what generations of musicians felt they heard in this quartet: Beethoven's most personal musical idiom and a vulnerable message from the final period of his life.
This new edition by Jonathan Del Mar represents a thorough reevaluation of this highly complex work. Meticulously incorporated are Beethoven's pencil markings that were previously almost completely ignored. | | | | |
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| Beethoven, Ludwig van | | String Quartet in C-sharp minor op. 131 | BARENREITER URTEXT
Editor: Del Mar, Jonathan | | TP 931 | EUR 13.95 | Study Score | 9790006203123 | | |
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| | First Urtext editions
Based on "The Bohuslav Martinu Complete Edition" IV/4/1 (Chamber Music for 6-9 Instruments I)
Foreword by the editor Jitka Zichova (Cz/Eng/Ger) |
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| Martinu, Bohuslav | Serenade No. 3 H 218
For Oboe, Clarinet, 4 Violins and Violoncello | BARENREITER URTEXT
Editor: Zichova, Jitka | | BA 11542 | EUR 13.95 | Set of Parts | 9790260109322 | 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 and form. 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 two years 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 not involved 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. | | |
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| Martinu, Bohuslav | | Serenade No. 3 H 218 | BARENREITER URTEXT
Editor: Zichova, Jitka | | TP 442 | EUR 10.95 | Study Score | 9790260109315 | | |
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| | A collection of the purely instrumental numbers in their various versions
Overview according to key in the contents
Enables suites to be individually compiled |
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| Rameau, Jean-Philippe | Dardanus RCT 35 A, 35 B
Tragedie in one prologue and 5 acts. Symphonies / Versions from 1739 and 1744 | URTEXT
Editor: Herlin, Denis | | BA 8899 | EUR 84.00 | Full Score | 9790006523351 | "Dardanus" is Rameau's third "Tragedie lyrique" composed for Paris after "Hippolyte et Aricie" and "Castor et Pollux". With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.
The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.
This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.
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| | Including three early works published for the first time
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| Saint-Saens, Camille | | Works for Violin and Piano (1): Sonatas for Violin and Piano | Saint-Saens, Camille. Oeuvres instrumentales completes III/4
Editors: Guilloux, Fabien / Medicis, Francois de | | BA 10304-01 | EUR 266.00 | 9790006541546 | | Reduced subscription price available | The catalogue of the works of Camille Saint-Saens includes four sonatas and a single movement for violin and piano, written over a large part of the composer's life. Three works from his youth are published here for the first time; the "Andante" of a Sonata for Violin and Piano in C major dating from 1841/1842, the Sonata for Violin and Piano in B-flat major, dated 1842 – Saint-Saens was then six years old –, and the unfinished Sonata for Piano and Violin in F major dating from around 1850/1851 when Saint-Saens was fifteen years old. The two sonatas for violin and piano he subsequently composed were published and performed in public during his lifetime; the Sonata for Piano and Violin No. 1 in D minor, op. 75 (1885) and the Sonata for Violin and Piano No. 2 in E-flat major, op. 102 (1896). These works found their way into the repertoire of leading violinists worldwide soon after their creation.
In Saint-Saens's own opinion, the opp. 75 and 102 sonatas are strongly contrasted in their character: the first being an effectively brilliant, technically quite sophisticated work for the concert hall, the second, however, pure chamber music. The first probably inspired the fictitious composer Vinteuil's Sonata from Proust's novel "A la recherche du temps perdu" (In Search of Lost Time) – the two editors pursue this trail and many others in their extensive Preface. | | |
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