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BEETHOVEN, Ludwig van (1770-1827) - Symphony No. 9 in D minor, Op.125 (Choral) (Urtext) (Del Mar) (G). BAERENREITER VERLAG - hard-bound score (with critical notes)
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BA09009-01 / hard-bound score (with critical notes) / soli(SATB), chor(satb), orch: 2+1, 2, 2, 2+1 - 4, 2, 3, 0, timp, perc, str, soli(SATB), chor(satb)
Beethoven and Baerenreiter - a marriage made in heaven! It all started in 1996 with Symphony No. 9: Jonathan Del Mar's groundbreaking edition of this masterpiece marked the beginning of his new edition of the complete nine symphonies. They became a huge success and have been used by countless orchestras all over the world.
In the run-up to the Beethoven Year 2020, Del Mar has returned to the sources 20 years later and scrutinised them afresh. The results: the musical text has withstood the test of time. Baerenreiter's new edition now has an optimised layout and an additional Introduction by Barry Cooper. Rounding off this beautiful linen-bound volume are several pages reproduced in facsimile.
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BEETHOVEN, Ludwig van (1770-1827) - Symphony No. 9 in D minor, Op.125 (Choral) (Urtext) (Kraus) (G). G. HENLE
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PB14619 / soli(SATB), chor(satb), orch: 2+1, 2, 2, 2+1 - 4, 2, 3, 0, timp, perc, str, soli(SATB), chor(satb) / Dur 70
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MAHLER, Gustav (1860-1911) - Symphony No. 4 in G (Final version, 1911) (Ed. Christian Riedel). BREITKOPF & HAERTEL
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PB05634 / solo(S), orch: 4d2, 3d1, 3d1, 3 - 4, 3, 0, 0, timp, perc, glockenspiel, hp, str, solo [soprano] / Dur 50
Textcritical edition edited by Christian Rudolf Riedel [S,orch]
Duration: 54'
Final version 1911
Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. "The Heavenly Life," a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title "What the Child Tells Me," ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim "not without my retouching" led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his "retouching" served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser.
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Baerenreiter Beethoven Orchestra Editions - Special 250th Anniversary Offer
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In honor of the 250th anniversary of Beethoven's birth, EMS offers special 20% and 30% discounts on purchases of his orchestral works in Baerenreiter editions. Please see this brochure for specifics:
Brochure: Baerenreiter Beethoven Orchestral Editions
Listing of titles with prices
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STRAVINSKY, Igor (1882-1971) - Chant du Rossignol (Edited Clovis Lark) (2018). CLOVIS LARK
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CL0001 / orch: 2d1, 2d1, 2de-fl.cl, 2 - 4, 3, 3, 1, timp, perc, 2hp, str, cel and pf in set / Dur 20
Authoritative new edition by Clovis Lark, beautifully engraved by Nicholas Greer. Score 11 x 14, parts 10 x 13.
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RAVEL, Maurice (1875-1937) - Tzigane (Urtext) (Woodfull-Harris). BAERENREITER VERLAG
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BA08849 / vn, orch: 2d1, 2, 2, 2 - 2, 1, 0, 0, perc, hp, cel, str / Dur 10
This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of "Tzigane" from the estate of Jelly D'Aranyi, which is today part of a private collection.
The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.
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