Partituras para formaciones orquestales

For an alternative Rosamunde Overture, see Alfonso and Estrella D 732

For more than 100 years, the piano editions of the Children's Symphony have been part of Breitkopf's orchestral material. These are actually not piano parts, but full 'reductions' for piano 2 or 4 han...

orch 11'

EB 2861 is printed in score; two copies are needed for performance

orch 13'

Since the Faun's flute, music breathes differently(Pierre Boulez) In addition to the score, the complete orchestral material is offered for sale for the first time, so that all ensembles can deal with...

In addition to a preface and a detailed critical report, our score also contains Schubert's extensive piano sketch, which allows important conclusions to be drawn about the creation of the 'Unfinished...

The revision was made on the basis of Mozart's autograph, which today, after being moved from the Prussian State Library to Poland during World War II, is in the Jagiellonska Library in Kraków.

The genesis and source history of Beethoven's 'Choral Fantasy' is convoluted and poses considerable difficulties for today's research. A definitive 'last hand version' does not exist.

The main differences from the available editions concern mainly articulation and dynamics in movements 1, 2 and 4. This Critical Report is a treasure trove for the practitioner ...

Hauschild's new edition is based on all important primary sources: autograph, first printing of parts, score copies supervised by Beethoven, and finally the first printing of the score.

With sovereign expertise, Hauschild manages to combine source criticism and the requirements of performance practice, while also keeping the Critical Report (included in the score, of course) concise.

The genesis and source history of Beethoven's 'Choral Fantasy' is convoluted and poses considerable difficulties for today's research. A definitive 'last hand version' does not exist.

Schumann, The Symphonies 5 study scores in slipcase

The first set of Slavonic Dances, edited by Dvorak expert Klaus Döge, constituted a small series of works in 1996, which continued to grow in the following years.

Something "completely new and unheard-of" would be offered to the audience, Robert Schumann wrote to Franz Liszt at the end of 1851, referring to the premiere of his "dramatic poem" Manfred. Already a...

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.