La Bellezza ravveduta nel trionfo : del Tempo e del Disinganno - HWV 46a

L'oca del Cairo - Mozart, Wolfgang Amadeus

Dramma giocoso per musica complete edition, study score Paperback

Ouvertüre zu "La forza del destino" - Verdi, Giuseppe

Bearbeitung für Bläserquintett set of parts Fl(Fl-Picc)/Ob/clarinet/bassoon/Hn Folded

Three Sonatas - Beethoven, Ludwig van

for Piano With notes on performance practice by Jonathan Del Mar and Misha Donat Performance score, Anthology, Urtext edition piano Paperback F minor, A major, C major

Concerto No.1 In C Major Op.15 For Piano

The Bärenreiter Urtext edition of Ludwig Van Beethoven's Concerto No.1 In C Major Op.15 For Piano features a detailed commentary by Bärenreiter editor and Beethoven expert Jonathan Del Mar.InBeethoven’s autograph for Concerto No.1 In C Major Op.15 For Piano Del Mar found no less than 17 corrections which were made after the work was published. These have been brought to light in this volumeand all the sources and findings made by the editor have been documented.This critical edition reflects the latest musicological research and sets the highest scholarly standards without losing sight of the needs ofmodernperformers. This is a reduction for two Pianos. The full score can be found here.

Violin Concerto In D Op.61 - Piano Reduction

Beethoven's famous concerto for Violin and Orchestra has appeared in many editions over the last 150 years, but none has truly done justice to the work. Now, the acclaimed Beethoven scholar Jonathan Del Mar has achieved justthat.Working with all known sources, Del Mar finally presents us with Beethoven's intended solo Violin articulation, dynamics and slurring; there are even note corrections in the solo part. Additions made by variouseditors and violin players over the years have been deleted. For the first time we also now have clarity regarding the meaning of Beethoven's Solo and Tutti markings.All in all, a groundbreaking scholarly-criticaledition;a must have for every violin player, orchestra and music library.

Concerto for Pianoforte and Orchestra Nr. 2 : B-flat major op. 19

Although the sources to Beethoven’s Piano Concerto Op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter edition, basedexclusively on the authentic sources. Jonathan Del Mar’s scholarly-critical edition corrects misreadings of Beethoven’s autograph, which were already present in the first edition and had, subsequently,been incorporated into other editions of this work.

Symphony No.2 In D Op.36

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.1 In C Op.21

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertakingbecause of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtextedition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. Full scores, study scores and completeperformance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.8 In F Op.93

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

String Quartet E-Flat Major Op. 127 : Critical Commentary

This new scholarly-critical edition of String Quartet Op.127, the first of Beethoven’s late quartets, follows upon Urtext publications of Opp.18, 59, 74 and 95.Once more the editor is therenowned Beethoven authority Jonathan Del Mar. All surviving sources have been consulted including sketches to clarify the conflicting readings in the autograph. Not only has Del Mar reconstructedBeethoven’s original beaming, phrasing, articulation and length of crescendo hairpins, he has also corrected wrong notes that have taken hold in editions published over the years and has supplementedmissingnotes.- Urtext edition at the cutting edge of scholarship, with detailed separate Critical Commentary (Eng)- Parts ideally laid out for performance purposes- Parts (BA9029) & study score format 22.5x 16.5cm (TP929) available for sale- Critical Commentary contains Facsimiles, Signs and conventions, Sources, Critical Commentary: I, II, III, IV, Appendices, Bibliography

Concerto For Violin In D, Op.61

Beethoven’s Concerto For Violin And Orchestra is one of the most famous works in the history of music. Over the last 150 years it has been published in numerous editions, none of which have up to nowdone justice to the work. For this edition Jonathan Del Mar has freed the work of additions made over the decades by various editors and violinists. The significance of Beethoven’s solo and tutti markings hasalso been clarified for the first time. Following the publication of the full score, Piano reduction and orchestral parts (BA 9019) in the autumn of 2009, Bärenreiter is now publishing a study score of thispioneeringcritical edition which will prove indispensible for all violinists and students as well as for orchestras and music libraries. An introduction by Beethoven expert Barry Cooper on the history ofthis concerto is included for the first time. Del Mar’s edition clarifies Beethoven’s solo and tutti markings for the first time.

Concerto : e minor

Edward Elgar's concerto for violoncello, his last major work, is a cleanly structured and emotionally charged composition. It is no wonder that this work is of central importance in the cello literature. Jonathan Del Mar'seditorial skills show themselves in the exacting placement of dynamics, articulation and expression markings.The edition restores all Elgar's solo cello fingerings and bowings and offers a facsimile of the original solocello part in the critical commentary. Jonathan Del Mar also documents the performing tradition of the work and its recording under Elgar's baton. This is the last word on this famous work, a reference edition foreverycellist!First ever critical editionAll existing sources consultedFirst ever critical commentary'I highly recommended this purchase even if you own a well-worn copy of anotheredition.'(American String Teacher vol. 56 No. 3 August 2006)'Ownership of this fine, masterly authoritative and elegantly printed edition, coupled with the fascinating Critical Commentary, must be obligatory for allcellists!'(ESTA, News & Views, Autumn 2006)

Sonata in F major op. 17 : for Pianoforte and Horn or Violoncello

Beethoven wrote his Horn Sonata op. 17 for Johann Wenzel, one of the most famous horn players of his day. According to an anecdote from Beethoven's pupil Ferdinand Ries, he only completed it on the day before the première. Nevertheless, the piece was a rousing success.As the horn part demands a masterly technique, the publisher of the first print, Tranquillo Mollo et Comp., issued the piece in 1801 with an alternative part for violoncello. Since the autograph score has not survived, Jonathan Del Mar has based his scholarly-critical edition mainly on this first print.Misha Donat provides an informative Foreword on the work’s history and genesis (Eng/Ger) and theedition is rounded off by a Critical Commentary (Eng) with a complete description of the sources as well as a page in facsimile.

Symphony No. 8 In G Major Op. 88

With its Bohemian echoes and thematic diversity, Symphony No. 8 enjoys a special status among lovers of Antonín Dvorák's music. For a long time, the performance material for this work has been notorious for its myriad mistakes. For his edition of Dvorák's 8th Symphony, editor Jonathan Del Mar was therefore faced with the task of making comprehensive corrections. He has taken into account the engraver’s copy, which was actually discovered in a trash bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in Dvorák’s hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen. This study score edition is complemented by the full score and orchestral parts (BA10418).

String Quartet in C-sharp minor op. 131

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 ofhimself 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 hisdeathbed.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 hislife.This new edition by Jonathan Del Mar represents a thorough revision of this highly complex work. Meticulously incorporated are Beethoven’s pencil markings that were previously almost completely ignored.

Four Sonatas for Flute and Basso Continuo : BWV 1034, 1035, 1030, 1032

J.S. Bach – Flöjtsonater BWV 1020–1035 för två tvärflöjter (utan klaverkomp) Tvärflöjten hade en central plats i Johann Sebastian Bachs kammarmusik, vid sidan av violin. Även om ursprunget till vissa av sonaterna inte är helt säkert, utgör de en viktig del av barockens flöjtrepertoar. I denna specialutgåva har flöjtisten och pedagogen Cathrin Ambach arrangerat sonaterna för två flöjter, vilket gör det möjligt att spela dem utan klaver- eller cembalobegelejdning. Förstaflöjtstämman är identisk med Neue Bach-Ausgabe Urtext, medan andraflöjten elegant återger basso continuo/cembalostämman i en musikalisk och pedagogiskt välbalanserad version. Utgåvan passar utmärkt för undervisning, ensemblespel och konserter, och är kompatibel med Urtext-originalen (BA5198 och BA5220). Volymer: BA10961 – Innehåller: BWV 1030, 1032, 1034, 1035 (säkert av Bach) BA10962 – Innehåller: BWV 1020, 1031, 1033 (tillskrivs Bach) Fördelar: Urtext för förstaflöjt från Neue Bach-Ausgabe Akkompagnemang arrangerat för andraflöjt Kräver inget klaver – idealisk för flexibel användning Passar för: Musikundervisning, amatörduor och konsertframträdanden

Complete Sonatas for Pianoforte III

Following the critically acclaimed publication of the 35 Piano Sonatas in separate editions, Bärenreiter now presents Beethoven’s Complete Piano Sonatas in three volumes. This edition, which is unparalleled in terms of its philological accuracy, has been edited by world-renowned Beethoven expert Jonathan Del Mar guaranteeing a musical text at the forefront of musicological scholarship. Each volume is equipped with a table of contents including incipits of each sonata. Running titles with opus and movement numbers enable a quick identification of individual works and movements. Volume I includes a Foreword (Eng/Ger) which covers all salient editorial issues withregard to Beethoven’s notation and performance practice issues, supplemented by facsimile pages. An indispensable standard work at the cutting edge of Beethoven scholarship! - A definitive new critical performing edition at the cutting edge of Beethoven scholarship - Elegant, ready-friendly layout with practical page turns - Table of contents with incipits as well as running titles enable easy location of works

Complete Sonatas for Pianoforte I

Following the critically acclaimed publication of the 35 Piano Sonatas in separate editions, Bärenreiter now presents Beethoven’s Complete Piano Sonatas in three volumes. This edition, which is unparalleled in terms of its philological accuracy, has been edited by world-renowned Beethoven expert Jonathan Del Mar guaranteeing a musical text at the forefront of musicological scholarship. Each volume is equipped with a table of contents including incipits of each sonata. Running titles with opus and movement numbers enable a quick identification of individual works and movements. Volume I includes a Foreword (Eng/Ger) which covers all salient editorial issues withregard to Beethoven’s notation and performance practice issues, supplemented by facsimile pages. An indispensable standard work at the cutting edge of Beethoven scholarship! - A definitive new critical performing edition at the cutting edge of Beethoven scholarship - Elegant, ready-friendly layout with practical page turns - Table of contents with incipits as well as running titles enable easy location of works

Piano Concerto No.5 In E-flat Op.73 - Emperor : for Pianoforte and Orchestra op. 73

Beethoven’s fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and hisintentions regarding the work’s performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven’s sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for theleft-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.• Many wholly new corrections in the solo and orchestral parts• Piano reduction with a separate solo part, as was customary in Beethoven’s day• With Beethoven’s continuo figures for the first time in a modern edition

Cello Concerto In B Minor Op.104 (Critical Report)

Like every other great 19th-century solo concerto, Dvorák’s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages inDvorák’s autograph score were actually written by the cellist Hanuš Wihan; but Bärenreiter’s edition now reveals that some details in the Orchestral parts are also in his writing, showing just how closely the twomusicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produceanauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák’s final and definitive version of the solo Cello part. This differs, in details, in almost every barfrom the version found in all other modern editions, while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák’s final and definitive version of the solo Cello part.- Withhundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák’s original Pianoreduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score, performance material (BA9045), Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.

Cello Concerto In B Minor Op.104 (Cello & Piano)

Like every other great 19th-century solo concerto, Dvorák’s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages inDvorák’s autograph score were actually written by the cellist Hanuš Wihan; but Bärenreiter’s edition now reveals that some details in the Orchestral parts are also in his writing, showing just how closely the twomusicians were working together.The editor Jonathan Del Mar has painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produceanauthoritative edition which restores for the first time since the original edition was published in 1896 - Dvorák’s final and definitive version of the solo Cello part. This differs, in details, in almost every barfrom the version found in all other modern editions, while hundreds of corrections have also been made to the Orchestral parts.- With Dvorák’s final and definitive version of the solo Cello part.- Withhundreds of corrections in the solo Cello part as well as the Orchestral parts.- With hitherto unknown details regarding the collaboration between Dvorák and Wihan.- With Dvorák’s original Pianoreduction.- With Feuermann's and Casals' alternatives to a passage in the first movement.- Full score, performance material (BA9045), Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale.