This collection of all instrumental numbers from Castor et Pollux (tragédie in a prologue and five acts) brings together the movements and dances of all versions based on the volumes of the
A minimum quantity of 3 is required on this title.
A minimum quantity of 2 is required on this title.
Edited by Jonathan Del Mar. For piano & orchestra. Urtext Edition. Preface in Ger. and Eng. The editor has closely
A minimum quantity of 4 is required on this title.
Edited and arranged by Joachim F.W. Schneider. For cello, strings & bass continuo (piano reduction). Originally written for organ. This new edition was commissioned for the renowned
Beethoven composed the ballet music Die Geschöpfe des Prometheus during 1800–01, commissioned by the ballet master Salvatore Viganò for performances with his Viennese
Mozart, Wolfgang Amadeus. Ed. Franz Giegling. Published by Barenreiter Verlag, Kassel, West Germany. Copyright 1981/1990. Urtext of the New Mozart Edition. Orchestral parts, a study score, and a piano
Beethoven’s sacred works include two settings of the Mass. The Mass in C Major, completed and premiered in 1807, has been unjustly described as a preliminary step towards the completion of his great
The Baerenreiter edition of Mozart's masterwork; this has become a staple in the repertoire.
This urtext edition for SATB chorus and piano is based on the volume of the Complete Works of Gabriel Faure published in 2010. The vocal score is compatible with the first small-scale version
Arranged for soloists, mixed choir and chamber orchestra.
This significant passion work by J.S. Bach stands among the greatest major works ever written. It's multi-movement structure offers chorals that can be sung by choir alone or with audience/congregation.
Edited by Robert Simon. For orchestra. Urtext Edition based on the first edition, published by Simrock in 1879. Preface in Ger., Cz. and Eng. Includes critical report. Full score, 72 p.
Between 1996 and 2000, Barenreiter 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