Partituras de Breitkopf & Härtel para orquesta

Original cadenzas in EB 594036 Cadenzas to own piano concertos

[Vl,Orch] - (Christian R. Riedel)

Urtext of the 'Revolution Overture' The overture to 'Hermann and Dorothea' is Schumann's only compositional result to Goethe's verse epic. Originally he planned a whole opera, then a Singspiel, finall...

score and study score with the text by Loriot

In Mozart's fragment, written in 1785, the 'Magic Flute' already sounds at times.

The concert pieces op. 113 and 114 make special demands on source criticism.

With Cesar Franck's only symphony, a central repertoire work of the late Romantic period finds its way into the new orchestral editions that Breitkopf & Härtel has placed under the heading of 'source...

Well-founded re-evaluated Can there still be new readings compared to traditional editions? This is the question that editor Clive Brown has addressed, meticulously scrutinizing the often contradictor...

Immediately after the 12 string symphonies (1821-1823), the 15-year-old Felix Mendelssohn Bartholdy wrote a 'Sinfonia XIII' in C minor in March 1824.

Mendelssohn's Double Concerto in D minor is now no rare guest on concert programs.

The authentic new edition: text-critical and complete available for purchase (only edition with choral score and a historically legitimized piano reduction by Josef Zubaty)

Overture to 'A Midsummer Night's Dream' revealed by Mendelssohn's autograph

With the performance materials for the Mendelssohn Complete Edition (LMA), the publisher fulfills its announcement to draw consequences as soon as possible after the publication of a complete edition...

Mozart's Master Concerto newly edited by Mozart expert Cliff Eisen

La edición Urtext de Jean-François Monnard es la primera edición de La Valse que compara todas las fuentes pertinentes. La primera impresión de la partitura, publicada en 1921, sirvió de modelo.

Some of the songs appeared in 1933 or 1937 in editions that are difficult to obtain today and, moreover, are not entirely reliable; in the case of Greisengesang and the first version of Ellens zweiter...

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)

I want to do an edition that is not a Koopman interpretation, but brings only what is really Handel.' (Ton Koopman)