Che se tu seil cor mio

Der 98. Psalm - MWV A 23 op. Posth 91

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary(Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score, performance material (BA9076) and vocal score (BA9076-90) available forsaleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as generalmusicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear inprint until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In thisway, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on thefirst printed edition, which was published by F. Kistner and Evers & Co. in 1851.

Der 98. Psalm - MWV A 23 op. Posth 91

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary(Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score, performance material (BA9076) and vocal score (BA9076-90) available forsaleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as generalmusicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear inprint until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In thisway, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on thefirst printed edition, which was published by F. Kistner and Evers & Co. in 1851.

Der 98. Psalm - MWV A 23 op. Posth 91

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary(Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score, performance material (BA9076) and vocal score (BA9076-90) available forsaleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as generalmusicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear inprint until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In thisway, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on thefirst printed edition, which was published by F. Kistner and Evers & Co. in 1851.

Der 98. Psalm - MWV A 23 op. Posth 91

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary(Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score, performance material (BA9076) and vocal score (BA9076-90) available forsaleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as generalmusicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear inprint until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In thisway, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on thefirst printed edition, which was published by F. Kistner and Evers & Co. in 1851.

Der 98. Psalm - MWV A 23 op. Posth 91

Features of the Barenreiter Urtext edition of Mendelssohn’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord):Bilingual Foreword (Ger/Eng) and Critical Commentary(Eng)Words underlaid in both German and EnglishPiano reduction based on the first printed editionFull score, performance material (BA9076) and vocal score (BA9076-90) available forsaleMendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as generalmusicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear inprint until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In thisway, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on thefirst printed edition, which was published by F. Kistner and Evers & Co. in 1851.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Prelude a lapres-midi dun faune

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format, 25.5 cm x 32.5 cm.“Prélude A L’Aprés-Midi D’UnFaune”, often referred to as the first composition of the “modern” era, is one of Debussy’s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and severalimportant ones are drawn upon for the first time in Bärenreiter’s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which, however, contains many engravererrors.When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.Bärenreiter’s Urtext edition incorporates readings of a printed copy of the score from c. 1908 whichshows corrections and emendations by the composer. These important changes, found in no other source, include metronome markings, different pitches and additional notes, as well as added tempo and articulation markings, which allsubtly enhance Debussy’s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Concerto for Keyboard No.4 in A major BWV 1055

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Todayit is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performingmaterial to the five concertos for Harpsichord and Strings, BWV 1052-1056 (BA5224-BA5228), the concerto for Harpsichord, two Recorders and Strings BWV 1057 (BA5229), as well as the concerto BWV 1058 (BA5230) also forHarpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

Concerto for Keyboard No.4 in A major BWV 1055

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Todayit is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performingmaterial to the five concertos for Harpsichord and Strings, BWV 1052-1056 (BA5224-BA5228), the concerto for Harpsichord, two Recorders and Strings BWV 1057 (BA5229), as well as the concerto BWV 1058 (BA5230) also forHarpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

Concerto for Keyboard No.4 in A major BWV 1055

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for Harpsichord. Todayit is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly Violin or Oboe).- Urtext of the New Bach Edition- Full scores and performingmaterial to the five concertos for Harpsichord and Strings, BWV 1052-1056 (BA5224-BA5228), the concerto for Harpsichord, two Recorders and Strings BWV 1057 (BA5229), as well as the concerto BWV 1058 (BA5230) also forHarpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

For He Shall Give His Angels Charge Over Thee : Motet for eight voices a cappella

Original version for eight voices a cappella. Mendelssohn’s Three Motets, Op.69, and Three Psalm Settings, Op.78, belong to the standard repertoire of many choruses and vocal ensembles. Our editions, the work of twoleading Mendelssohn specialists, Hiromi Hoshino and Michael Cooper, present these pieces in separate volumes reflecting the latest state of scholarly research.We also offer a separate edition of Psalm 91, For HeShall Give His Angels Charge, in its original setting for eight-part a cappella chorus. (Mendelssohn later incorporated it into “Elijah” with an orchestral accompaniment).Each edition contains the originalGermantext and the English translation authorised by the composer himself.A two-stave reduction of the vocal parts has been added as an aid in rehearsal. Complete editions are available with critical reports andintroductions in German and English.- Urtext at the forefront of musical scholarship- Complete editions with critical reports and introductions in German and English- With piano reductions for rehearsalpurposes

Preludes : A Selection

Vier Volkslieder : Part a

Psalm Non Nobis Domine - Nicht Unserm Namen, Herr : Op. 31 Mwv A 9

Psalm 'Non nobis Domine' / 'Nicht unserm Namen, Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketchesand the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin wordsfrom the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading MendelssohnauthorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtextedition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages(Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Psalm Non Nobis Domine - Nicht Unserm Namen, Herr : Op. 31 Mwv A 9

Psalm 'Non nobis Domine' / 'Nicht unserm Namen, Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketchesand the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin wordsfrom the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading MendelssohnauthorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtextedition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages(Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Psalm Non Nobis Domine - Nicht Unserm Namen, Herr : Op. 31 Mwv A 9

Psalm 'Non nobis Domine' / 'Nicht unserm Namen, Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketchesand the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin wordsfrom the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading MendelssohnauthorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtextedition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages(Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Psalm Non Nobis Domine - Nicht Unserm Namen, Herr : Op. 31 Mwv A 9

Psalm 'Non nobis Domine' / 'Nicht unserm Namen, Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketchesand the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin wordsfrom the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading MendelssohnauthorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtextedition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages(Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Psalm Non Nobis Domine - Nicht Unserm Namen, Herr : Op. 31 Mwv A 9

Psalm 'Non nobis Domine' / 'Nicht unserm Namen, Herr' Op.31 MWV A 9Mendelssohn’s first great orchestral psalm took almost six years to complete, from the initial sketchesand the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838.Unlike his other orchestral psalms, Mendelssohn took the Latin wordsfrom the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation, he made use of Psalm 115 from the Luther Bible.This edition by the leading MendelssohnauthorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis, the vocal parts are underlaid with the Latin text, and the German text appears underneath.Rounding off this Urtextedition are an informative Foreword and detailed Critical Commentary.The piano reduction stems from Mendelssohn himself.- Informative Foreword in the score (Ger/Eng)- Text underlay in two languages(Lat/Ger)- Piano reduction by the composer- Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

Concerto in A minor BWV 1044 : Triple Concerto

Canzona Napolitana : Bonzorno Madonna. Für A Capella-Chor

Concerto in A minor BWV 1044 : Triple Concerto