Parituras para conjuntos

A repertoire work in the Urtext for practice edited by Christoph Hellmundt - Urtext according to the Leipzig Mendelssohn-Gesamtausgabe

A repertoire work in the Urtext for practice edited by Christoph Hellmundt - Urtext according to the Leipzig Mendelssohn-Gesamtausgabe

A repertoire work in the Urtext for practice edited by Christoph Hellmundt - Urtext according to the Leipzig Mendelssohn-Gesamtausgabe

A repertoire work in the Urtext for practice edited by Christoph Hellmundt - Urtext according to the Leipzig Mendelssohn-Gesamtausgabe

The much-played 'Scottish', which incidentally Mendelssohn never called so, appears in the Urtext edition in a new light.

The much-played 'Scottish', which incidentally Mendelssohn never called so, appears in the Urtext edition in a new light.

The much-played 'Scottish', which incidentally Mendelssohn never called so, appears in the Urtext edition in a new light.

The much-played 'Scottish', which incidentally Mendelssohn never called so, appears in the Urtext edition in a new light.

The much-played 'Scottish', which incidentally Mendelssohn never called so, appears in the Urtext edition in a new light.

For the 'Fidelio' overture, composed at lightning speed in 1814, a copy of the score in the Austrian National Library today provides a reliable basis for a new text-critical edition.

For the 'Fidelio' overture, composed at lightning speed in 1814, a copy of the score in the Austrian National Library today provides a reliable basis for a new text-critical edition.

For the 'Fidelio' overture, composed at lightning speed in 1814, a copy of the score in the Austrian National Library today provides a reliable basis for a new text-critical edition.

For the 'Fidelio' overture, composed at lightning speed in 1814, a copy of the score in the Austrian National Library today provides a reliable basis for a new text-critical edition.

For the 'Fidelio' overture, composed at lightning speed in 1814, a copy of the score in the Austrian National Library today provides a reliable basis for a new text-critical edition.

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

Urtext-Neuland: Die Ouvertüre Leonore Nr. 3 To this day, the two central Fidelio overtures are performed from musical texts that date back to the inaccurate and erroneous first printings of the parts....

For the first time clearly the 'version last hand

For the first time clearly the 'version last hand

Schumann's 'Sinfonietta' in the Urtext The intensity with which Schumann dealt with the symphony is shown not only by the four known works themselves, but also by compositions that stand between the g...

Schumann's 'Sinfonietta' in the Urtext The intensity with which Schumann dealt with the symphony is shown not only by the four known works themselves, but also by compositions that stand between the g...

Schumann's 'Sinfonietta' in the Urtext The intensity with which Schumann dealt with the symphony is shown not only by the four known works themselves, but also by compositions that stand between the g...