Bärenreiter New Piano Reductions

Concerto A minor for Violin, Strings and Bc, BWV 1041 Music Sample (Piano reduction) Music Sample (Urtext solo part) Music Sample (Solo part with fingerings ) BA 5188a Euro 12,50

Concerto in E major for Violin, Strings and Bc, BWV 1042 Music Sample (Piano reduction) Music Sample (Urtext solo part) Music Sample (Solo part with fingerings ) BA 5189a Euro 10,95

Concerto in D minor for 2 Violins, Striings and Bc, BWV 1043 Music Sample (Piano reduction) Music Sample (Urtext solo part Violin I) Music Sample (Solo part with fingerings Violin I) BA 5190a Euro 12,95

Concerto in B major for Violin and Orchestra, K. 207 »Nr. 1« Cadenzas and lead-ins by J.-Delphin Alard* and Martin Wulfhorst BA 4863a Euro 12,50 Music Sample (Piano reduction) * Jean-Delphin Alard (1815 - 1888), French violin player and teacher, pupil of Francois-Antoine Habeneck. Among his own pupils at the Paris Conservatoire was Pablo de Sarasate. The cadenzas to all three movements are by Jean-Delphin Alard. Eingänge for the fermata in the first movement are offered in the style of the era by the editor.

Concerto in D for Violin and Orchestra , K. 211 »Nr. 2« Cadenzas and lead-ins by Leopold Auer* and Martin Wulfhorst BA 4864a Euro 13,50 Music Sample (Piano reduction) Music Samples (Cadenza, Urtext solo part, Solo part with fingerings ) * Leopold Auer (1845 - 1930), Hungarian violinist and teacher, pupil of Jacob Dont and Joseph Joachim. Among his pupils at the Petersburg conservatorium were Nathan Milstein and Jascha Heifetz. After moving to the USA in 1918 he was a successful violinist, conductor and teacher at the Curtis Institute in Philadelphia. For the major cadenzas in the forst tow movements and for the two cadenza-like transitions (Eingänge) in the second and third movement the editor has chosen those of Leopold Auer, published in 1921. Embellishments and transitions (Eingänge) for four fermatas that have not come down to us in Auer's hand, are offered in the style of the era by the editor.

Concerto in G for Violin and Orchestra , K. 216 »Nr. 3« Cadenzas and lead-ins by Leopold Auer, Eugène Ysaÿe*, Sam Franko and Martin Wulfhorst BA 4865a Euro 12,50 Music Sample (Piano reduction) Music Samples (Cadenza, Urtext solo part, Solo part with fingerings ) * Eugène Auguste Ysaÿe (1858 - 1931), belgian violinist and conductor, pupil of Wieniawski and Vieuxtemps. He worked as a violin teacher at the Bruxelles conservatoire. Working as a conductor he led the Orchestre des Concerts Ysaÿe and the Symphony Orchestra of Cincinnatti. Ysaÿe was a disciple in the of the French-Belgian school, Leopold Auer is a key figure of Russian and American violin pedagogy.

Concerto in D for Violin and Orchestra , K. 218 »Nr. 4« Cadenzas and lead-ins by Leopold Auer, Joseph Joachim* and Martin Wulfhorst BA 4866a Euro 13,50 Music Sample (Piano reduction) Music Samples (Cadenza, Urtext solo part, Solo part with fingerings ) * Joseph Joachim (1831 - 1907), austrian-hungarian violinist and teacher, pupil of Joseph Böhm and Ferdinand David. In Berlin he was the headmaster of the Musikhochschule. He founded the famous Joachim Quartet. Known worldwide as a teacher he had more than 400 pupils. Many attempts have been made by performers to achieve the level of quality and popularity enjoyed by the Joachim cadenzas and Eingänge.

Concerto in A for Violin and Orchestra , K. 219 »Nr. 5« Cadenzas and lead-ins by Joseph Joachim, Sam Franko* and Martin Wulfhorst BA 4712a Euro 15,50 Music Sample (Piano reduction) Music Samples (Cadenza, Urtext solo part, Solo part with fingerings ) * Sam Franko (1857 - 1937), american violinist, pupil of Joseph Joachim and Henri Vieuxtemps. From 1891 on he also worked as a conductor, in his later life he was an important teacher. Sam Franko was important in representing the German playing tradition in the United States. Attractive alternatives to the cadenzas by Joachim can be found in those by Sam Franko, especially for movement 2.

Concerto in D major for Horn and Orchestra, K. 412 + 514 »Nr. 1« Music Sample (Piano reduction) BA 5314a Euro 15,50

Concerto in E-flat major for Horn and Orchestra, K. 417 »Nr. 2« Eingänge von Timothy Brown and Dominic Nunns BA 5311a Euro 13,95 Music Sample (Piano reduction) Music Samples (Solo part, transposed solo part) Eingänge Timothy Brown's Eingang was written for and performed on the hand-horn. It has been transposed to F for the valve horn by the English horn player Dominic Nunns. Brown performs his Eingang on the hand-horn with the Orchestra of the Age of Enlightenment on Virgin Classics VC 7 90845-2 (1990) and on the valve horn with minor changes with the Academy of St. Martin in the Fields on Hänssler Classic 98.216 (1997).

Concerto in E-flat major for Horn and Orchestra, K. 447 »Nr. 3« Cadenzas by Dennis Brain*, Timothy Brown and Dominic Nunns BA 5312a Euro 12,95 Music Sample (Piano reduction) Music Samples (Solo part, transposed solo part, cadenza) *Dennis Brain (1921-1957) english horn player. He studied at the Royal Academy of Music in London with his father Aubrey, played with the Busch Chamber Players and later became principal horn player of the Royal Philharmonic Orchestra and later on of the Philharmonia Orchestra. In later years he played more and more as a soloist, recording numerous concertos and performing works, that were composed especially for him.

Concerto in E-flat major for Horn and Orchestra, K. 495 »Nr. 4« Cadenzas and lead-ins by Dennis Brain, Timothy Brown and Dominic Nunns BA 5313a Euro 14,50 Music Sample (Piano reduction) Music Samples (Urtext solo part, transposed solo part) Cadenzas Eingänge The Cadenzas and Eingänge brochure accompanying this edition offers for the first time in print the cadenza to this work by the famous horn player Dennis Brain. Brain's cadenza was written for and performed on the modern valve horn. This cadenza is printed in F and E-flat and a modified version can also be found here for the natural horn. Timothy Brown's cadenza was written for and performed on the hand-horn. It has been transposed to F for the valve horn by the English horn player Dominic Nunns. Brown performs his cadenza on the hand-horn with the Orchestra of the Age of Enlightenment on Virgin Classics VC 7 90845-2 (1990) and on the valve horn with minor changes with the Academy of St. Martin in the Fields on Hänssler Classic 98.216 (1997).

Concerto in G major for Flute and Orchestra, K. 313 Cadenzas by Rachel Brown, Konrad Hünteler and Karl Engel BA 4854a Euro 12,95 Music Sample (Piano reduction) Music Samples (Solo part, cadenzas) Rachel Brown has studied at the Royal Northern College of Music with Trevor Wye and Lisa Beznosiuk. She now teaches at The Guildhall School of Music and Drama and The Royal College of Music in London. Konrad Hünteler has been Professor at the Münster division of the Detmold Academy of Music since 1979. Since 1991 is the artistic director of the Camerata of the 18th Century.

Concerto in B for Bassoon and Orchestra, K. 191 (186e) Cadenzas and lead-ins by Jane Gower BA 4868a Euro 12,50 Music Sample (Piano reduction) Music Samples (Solo part, cadenzas) Cadenzas and Eingänge The examples provided were composed along the guidelines of eighteenth century treatises, and differ from the majority of twentieth century and modern compositions on a number of points. The concerto contains two opportunities for Eingänge, signified by the fermatas in the Allegro (bar 97) and the Rondo (bar 107). Two examples are provided for the Allegro to cover differing interpretations of the two fermatas.

Concerto in C for Oboe and Orchestra, K. 314 (285d) Cadenzas and lead-ins by Frank de Bruine Reference score with oboe part set above the flute part BA 4856a Euro 15,50 Music Sample (Piano reduction) Music Samples (Solo parts, Cadenza, Reference score) This publication includes a solo oboe part prepared for performance and an extra brochure with cadenzas and lead-ins by Frank de Bruine. In the prepared performance part several passages have been replaced by readings found in the flute version. As an aid to performers a reference score is provided with the Urtext oboe part set above the Urtext flute part from the NMA, in this way players can quickly determine where the differences lay.

Concerto in A for Clarinet and Orchestra, K. 622 containing the reconstructed part for Bassett-Clarinet and suggestions for the embellishment of the fermatas in the first movement BA 4773a Euro 15,95 Music Sample (Piano reduction) Music Samples (Solo part, reconstructed part for Bassett-Clarinet) The embellishment of the fermatas in movement 1, mm. 127 and 315, the readings from the 1801 arrangement for flute and orchestra in G major by A. E. Müller1 have been transposed to A major. Players are also encouraged to take note of the articulation in this arrangement and of that found in the 1802 arrangement of the work for viola and orchestra2. 1 = BA 5335 2 = BA 5336a