Edition no.: BA10821ISMN: 9790006541454Editor: Woodfull-Harris, DouglasLanguage(s) of text: German, English, FrenchProduct format: Score, Urtext editionIncludes the following individual parts: PianoBinding: StapledPages / Format: XXII, 27 Seiten - 31,0 x 24,3 cm Debussy confidently wrote to his publisher Jacques Durand in August 1905:´´I believe – without unwarranted vanity – that these three pieces will prove to be good and that they will take a prominent place in the literature of piano music … to the left of Schumann or to the right of Chopin … as you like it”. Debussy’s ´´Images”, already popular during Debussy’s lifetime, delight with their iridescent tone colour and dazzling harmonies ´´which reflect the newest discoveries in harmonic chemistry”. The virtuosic second series is notated throughout on three staves.In commemoration of Debussy’s 150th birthday, Bärenreiter is publishing an Urtext edition of these pieces reflecting the most recent scholarship and source analysis. Clear presentation, fingering by Tamara Stefanovich and valuable information on performance practice all offer optimal conditions for the study of the work.- Urtext edition based on the most recent research- Includes fingering by Tamara Stefanovich- With a detailed foreword (Eng/Ger) and critical commentary (Eng)Tamara Stefanovichstudied at the University of Belgrade, at the Curtis Institute of Music and at the ´´Hochschule für Musik und Tanz” in Cologne. She has performed with the Cleveland Orchestra, the London Philharmonic and the Chicago Symphony Orchestra under conductors including Esa-Pekka Salonen, Vladimir Jurowski and Pierre Boulez, and has recorded for Deutsche Grammophon. She performed Debussy’s ´´Images I” and ´´II” in 2011 for the ´´Klavier-Festival Ruhr”. Together with Pierre- Laurent Aimard she prepared the fingering for the ´´Klavier-Festival Ruhr” Bärenreiter Piano Album (BA 9659).•Vorwort •Zum Fingersatz •Preface •Note on Fingering •Préface •Au sujet des doigtés •Debussy, ClaudeImages 1re série: •Debussy, Claude1. Reflets dans l´eau •Debussy, Claude2. Hommage à Rameau •Debussy, Claude3. Mouvement •Critical Commentary
Edition no.: BA 10839ISMN: 9790006542239Editor: Schilling-Wang, BrittaLanguage(s) of text: German, EnglishProduct format: Score, Urtext editionIncludes the following individual parts: PianoBinding: StapledPages / Format: VII, 10 S. - 31,0 x 24,3 cm Chabrier was heralded by the young generation of composers in France, particularly by Debussy, Ravel and Poulenc, as the founder of the French Modern. He achieved resounding success with his orchestra rhapsody ´´España” upon returning from his trip to Spain. Riding on this success, he composed the Habanera in 1885 which was met with equal enthusiasm. The piece was soon circulated in various arrangements. Chabrier himself transcribed the piece for orchestra in 1889.Bärenreiter is publishing the original version for piano for the first time in an Urtext edition. This striking piece is ideal for teaching purposes and includes fingering by Tamara Stefanovich as well as a well-presented layout with optimum page turns.- First scholarly-critical Urtext edition- Ideal for teaching- Informative foreword (Eng/Ger) and critical commentary (Eng)- With fingering and optimum page turnsTamara Stefanovichstudied at the University of Belgrade, at the Curtis Institute of Music and at the ´´Hochschule für Musik und Tanz” in Cologne. Working alongside conductors such as Esa-Pekka Salonen, Pierre Boulez and Vladimir Jurowski, she has performed with the Cleveland Orchestra, Chicago Symphony Orchestra and London Philharmonic Orchestra. For Bärenreiter she has already prepared fingering for the Urtext edition of Claude Debussy’s ´´Images” (´´1re série”: BA 10821, ´´2e série”: BA 10822).
Salieri, AntonioPrima la musica e poi le paroleDivertimento teatrale in one act DetailsEdition no.: BA 8811-90ISMN: 9790006542826Editor: Betzwieser, Thomas / La Salvia, AdrianArranger: Müller, Karl-Heinz / Schellevis, HansLanguage(s) of work: German, ItalianLanguage(s) of text: German, EnglishProduct format: Piano reduction, Urtext editionComments: Replaces BA 7698-90Binding: PaperbackPages / Format: XVI, 199 S. - 27,0 x 19,0 cm A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. The Italian court singers and musicians performed Mozart’s Schauspieldirektor whilst Antonio Salieri’s Prima la musica e poi le parole was performed by a German Singspiel ensemble. This charming opera satire belongs to the genre of ´´metamelodrama” in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the writer, composer and prima donna, appear as characters on the stage and are presented in a humorous mirror image. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. By reflecting on the musical-dramatic style of that time and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be a forerunner to Richard Strauss’s Capriccio.This new edition of the score is published as part of OPERA – Spectrum of European Music Theatre in Separate Editions. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into the newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s Giulio Sabino have also been incorporated.- Urtext edition based on the historical-critical hybrid edition OPERA-Spectrum of European Music Theatre in Separate Editions edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).- Original Italian libretto with singable German translation- Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodrama and intertextuality- Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s Giulio Sabino- Idiomatic piano reduction