Barenreiter Catalog

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CONTENTS
Piano Solo Piano Concertos Continuo Method ........................... 56

Collections of Original Works ....5 in arrangements for 2 pianos .. 45
Facsimiles
Collections of Arrangements .... 8 Piano Music Bach, The Well-Tempered Clavier
Jazz / Latin American .................. 9 in Study Score Editions .............. 51 Part I · BWV 846-869 ..............57
Easy Piano Pieces and Dances ..10
Chamber Music with Piano Mozart, Piano Concerto
Composers A-Z .............................11
Trio with Piano ............................52 in C minor K. 491 .......................57
Piano Duet / Two Pianos Quartet with Piano.....................55
Gift Items ........................................ 58
Collections .................................. 42 Quintet with Piano ....................55
Composers A-Z ........................... 43 Sextet with Piano ..................... 56 Index by Composers ..................... 59
Photo: The Bärenreiter Library in Kassel
ABBREVIATIONS AND KEY TO FIGURES

BA Bärenreiter Edition  Edition with fold-out pages
Bc / bc Basso continuo Bärenreiter-Verlag
Cz Czech text Karl Vötterle GmbH & Co. KG
Ed. Editor
° Performance material
available on sale
International Department
EN Edition Nagel P.O. Box 10 03 29
34003 Kassel · Germany
Eng English text  Performance material
Printed in Germany
Fr French text available on hire
Ger German text 4/1701/23 · SPA 233
H Bärenreiter Praha www.baerenreiter.com
maj major Content valid as of December 2016. info@baerenreiter.com
min minor Errors excepted and delivery terms www.barenreiter.co.uk
SM Süddeutscher Musikverlag subject to change without notice.
www.facebook.com/
Series baerenreiter
TP Study Score Cover design with a photograph www.twitter.com/
by Edition Paavo Blåfield. BarenreiterUK
 Contents E-Mail: paavo@blofield.de www.youtube.com/
 Review www.blofield.de BaerenreiterVerlag
2
You can
download
Mozart’s music.
You can’t
download
his genius!
Learning, Performing and Teaching

with Bärenreiter Urtext Editions
What can I expect

from a Bärenreiter Urtext
But it’s not all about musicology. Bärenreiter
edition? also satisfies your practical needs as a performer.
Bärenreiter Urtext editions offer:
A trustworthy musical text alone does not yet
justify the label Bärenreiter Urtext. Integral • Page turns, fold-out pages, and cues where
parts of Bärenreiter Urtext editions are: you need them
• In the case of solo concertos straight-forward
• Information on the genesis and history orchestral reductions
of the work • A well-presented layout and a user-friendly
• A description of the sources format
• Valuable notes on performance practice • Excellent print quality
• A Critical Commentary explaining all source • Superior paper and binding
discrepancies and editorial decisions
PIANO SOLO
A True Piano Appetiser!
NEW 2016
BÄRENREITER
PIANO KALEIDOSCOPE
BA 10900
The pieces and movements in this edition range from Contents – listed alphabetically
the 18 th century through to the first decades of the
20 th century. During these approximately 200 years Bach: Prelude in C major BWV 846
no. 1; Prelude in D minor BWV 851 /
keyboard playing developed considerably and together
Beethoven: Adagio sostenuto, mvt. 1
with the unstoppable rise of the pianoforte since the
from the “Moonlight Sonata” op. 27/2 /
end of the 18 th century, it became hugely popular. Brahms: Waltz in B minor no. 11 from
Waltzes op. 39; Album Leaf / Debussy:
The fifteen composers who are represented in this The Little Shepherd; Footsteps in the
edition have each, in their inimitable way, shaped the snow / Handel: Sonatina in D minor,
possibilities of sound and playing techniques of this HWV 581 / Janáček: In the Mists no. 1 /
instrument in their works. In our piano collection you Koželuch: Sonata in E-flat major op. 53/3,
mvt. 1 / Mendelssohn Bartholdy:
will find compositions from the Baroque, Classical,
Venetian Gondola Song op. 30/6;
Romantic and Early Modern eras. The pieces also vary
Allegro non troppo op. 72/1 / Mozart:
in national style and range from low through to high Allegro, mvt 1. from Sonata facile in
technical difficulty. C major / Mussorgsky: Tuilleries /
Satie: 1 ère Gymnopédie; En Plus / Schubert:
An appetiser for our Urtext editions – Allegretto in C minor D 915; Hungarian
Melody D 817 / Schulhoff: Blues /
give it a try! Schumann: Sicilienne; Farewell /
Smetana: Polka in E-flat major op. 8/1
4
PIANO SOLO
Organ and Keyboard Music

 Please see of the Imperial Court Chapel
Vienna 1500 – 1700
Bärenreiter’s website
www.baerenreiter.com Ed. S. Rampe
for more information on the BA 9214
individual editions, such as
This edition publishes for the
complete bibliographical data, first time a range of pieces
cover illustrations, sample by composers working in the
pages, complete contents, imperial court during the
and descriptive texts. 16th and 17 th centuries. The
volume contains twenty-two
compositions with a detailed
preface, many facsimile pages
Collections from the original manuscript
and a Critical Commentary
of Original Works (Ger/Eng). Bärenreiter Sonatina Album
Ed. K. Wolters
German Organ and Keyboard Organ and Keyboard Music Volume 1: BA 6545
Music of the 17 th Century at the Salzburg Court Volume 2: BA 6549
1500 – 1800
Collection of First Editions Bärenreiter Piano Album
Urtext / Ed. S. Rampe Ed. S. Rampe Vienna Classic
BA 8499 Ed. M. Töpel
Volume I: BA 8426
Volume II: BA 8427 BA 8756
This edition contains
Rampe’s two volume edition organ and clavier music by Bärenreiter Piano Album Romantic
is a journey to the early 17 th composers active at the Ed. M. Töpel
century with a wealth of Salzburg court from the early BA 6538
valuable pieces for keyboard 16th century to the end of
instrument. Many of the works the archbishopric in 1803. A representative cross section
appear for the first time in Siegbert Rampe has chosen of romantic piano music by
print. Especially noteworthy valuable pieces of moderate renowned composers of the
are a newly discovered prelude technical difficulty, mostly nineteenth and early
presumably by J. Pachelbel and from previously unpublished twentieth centuries.
the sole surviving keyboard sources, which can be used
work by H. I. F. Biber. in church services or concert The pieces are well suited to
performances. lending variety to the piano
German Organ and Keyboard lesson. A welcome addition
Music from Bach‘s Period  “… remarkable music, often to Bärenreiter’s two Sonatina
hitherto unknown, but richly albums and to the Early 20 th
Collection of First Editions deserving of our attention.” Century album.
Urtext / Ed. S. Rampe (The Consort)
BA 9255  “This album is also
 “The printing and layout excellent value and is a very
well chosen collection of short
This publication includes is excellent, and the preface
organ and keyboard works by contains much useful and not too difficult nineteenth
composers from Bach’s time. information about the Court, century pieces.”
For the first time, the original instruments, composers and (Music Masters Journal)
version of Bach’s famous sources. ..., the selection offers
Toccata in F major is published plenty of interesting und useful Easy Classics for Piano
in an edition based on the sole material in the main styles of 36 Originals from Bach to Satie
source, manuscript Bach P 803 three centuries.” Ed. M. Töpel
in the Berlin State Library. (The British Institute of Organ BA 8758
Studies) This anthology consists
 With extensive preface and
Critical Commentary (Ger/Eng) entirely of original works by
Bärenreiter Piano Album J. S. Bach, Handel, Haydn,
 Numerous facsimile pages Baroque Mozart, Beethoven, Schubert,
Musical text includes Mendelssohn Bartholdy,
 “... a pleasing and suggestions for ornaments Schumann, Chopin, Liszt,
rewarding anthology …” Ed. A. Erényi Brahms, Grieg, Debussy and
(The Consort) BA 8759 Satie.
PIANO SOLO
Collections of Original Works  With works by Belá Bartók / of spontaneous music-making.

Benjamin Britten / Willy The collection includes a broad
Burkhard / Alfredo Casella / spectrum of repertoire ranging
Claude Debussy / Hugo Distler / from easy to more demanding
César Franck / Enrique Granados works.
/ Karl Amadeus Hartmann /
Paul Hindemith / Gustav Holst  “Strongly recommended.”
/ Leoš Janáček / Zoltán Kodály / (Music Teacher)
Franz Liszt / Bohuslav Martinů
/ Modest Mussorgsky / Serge
 “This is one of the most
exciting publications to have
Prokofiev / Wladimir Rebikow /
come our way, …”
Max Reger / Camille Saint-Saëns
(Piano Journal)
/ Erik Satie / Arnold Schönberg
/ Jean Sibelius / Alexander
Skrjabin / Igor Stravinsky / Klavier-Festival Ruhr
Julius Weismann / Bernd Alois Bärenreiter Piano Album
Zimmermann Contemporary music
for two and four hands
Eds. T. Bleek / M. Töpel
Fingering by P.-L. Aimard
and T. Stefanovich
From Handel to Ravel BA 9659
39 Easy Originals for Piano
Ed. M. Töpel This album of piano works
BA 8771 demonstrates that
contemporary music can
The collection includes works inspire children and adults
by J. S. Bach, Beethoven, of quite different musical
Brahms, Chopin, Debussy, abilities and interests.
Grieg, Handel, Haydn, Liszt, The edition developed out
Mendelssohn Bartholdy, of an extremely successful
Mozart, Ravel, Satie, Schubert, education project run by the
Schumann and Tchaikovsky. Klavier-Festival Ruhr. This
festival began in 2007 with
the aim of presenting
Piano Album Bärenreiter contemporary piano music
Bärenreiter Piano Album in collaboration with the
Early 20th Century Contemporary Composers
Ed. M. Töpel internationally-renowned
Includes additional pianists Pierre-Laurent Aimard
explanations, suggestions “Best Edition 2010”
BA 8762 and Tamara Stefanovich.
and information on the pieces
(Ger/Eng/Fr) The works in this edition are
Ed. M. Töpel  A varied and attractively valuable additions to the
BA 6555 presented album repertoire of piano music for
 With suggestions for your two and four hands of easy to
 “... a very bold and own improvisation medium technical difficulty.
welcome initiative from
Bärenreiter to complement  Includes information Commentaries on the works
their other excellent collections (Ger/Eng) on the pieces and performance tips enhance
of Sonatinas and Romantic the album. In addition, all the
works.” (EPTA) This Piano Album offers a pieces are presented
wealth of discoveries and interactively on the Klavier-
 “... a good base for stimulating pieces from twenty Festival Ruhr website by the
broadening the horizons of the composers of the 20 th and 21st participating pianists and
student pianist.” centuries. These diverse pieces, composers.
(Australian Music Teacher) by composers working in quite
different styles, impressively  “Of course [the Album] is
 “At last a comprehensible demonstrate how relevant and primarily intended for piano
and appealing introduction to inspiring the piano is for teaching. However, at the same
the music of the twentieth contemporary composers. time it is really good music!
century for pianists.” The pieces which result from When was the last time there
(EPTA Piano Journal) improvisation encourage was something so fine? Bartók?
experimentation in the area Czerny?” (FAZ Sonntagszeit)
6
PIANO SOLO
For Open-minded Teachers

and Inquisitive Kids
Cofalik, Antoni
Twardowski, Romuald
At the Zoo for piano
BA 8125
A piano is a welcome visitor
at the zoo. You don’t have to
be a lion of the keyboard to
play this little collection.
Antelope, reindeer and
elephants cluster around the
young pianist.
The kangaroo takes bold
leaps, the bear ambles
with a measured gait at a
comfortable maestoso, the
crocodile slithers in a smooth
legato, and the beaver baffles
the eye with facile frisking.
The player rides on a pony
with tiny staccato leaps, and
grasshoppers set accents of
their very own.
Each of these charming pieces Graham, Peter
poses a special technical task (*1958)
that young players can master
playfully, almost effortlessly. Subversive Etudes
Dry études become a thing of BA 9585
the past. Even the colourful
illustrations by Marcin These piano miniatures are a Besides training finger
Bruchnalski reflect the distinctive and unusual technique, the pieces help
character of the music. addition to the teaching students to think in terms of
literature – genre paintings in counterpoint and to develop
 Teaches technical skills in contrasting styles with musical an expressive delivery.
a spirit of fun wit and inventive sounds and
rhythms. They offer glimpses  Miniature recital pieces for
 Imaginative melodies piano with amusing
into the musical cultures of
different countries (Hunting illustrations by Andrea
 Colourful illustrations Tachezy
in Hungary, Gamelan, Balkan
 “These attractive pieces Dance, African Games) and
music history (Medieval Feast
 Simple and entertaining
should help stimulate the genre paintings
imagination while providing for the Left-Handers).
some interesting original music  Easy to moderate level of
for the younger player.” difficulty
(Music Teacher)
PIANO SOLO
Collections of Original Works Collections

of Arrangements
Bärenreiter
Piano Moments
Favourite Classics arranged
for piano by Christoph Ullrich
and Andreas Skipis
With fingering
Mozart, Wolfgang Amadeus

(1756-1791)
Serenade in G maj
“Eine kleine Nachtmusik”
Ramade- Etchebarne, Anita K. 525
(*1953) With fingering
Arranged for piano by M. Töpel
Kids in Concert BA 9160
10 Piano Pieces for Children
Series Ready to Play Michael Töpel’s arrangement,
BA 10602 of easy to moderate difficulty,
captures the life and radiance
These ten pieces are written of this very well-known work.
in varying styles: classical, Though there is certainly no
pop, ballad, rock and jazz. shortage of arrangements of
The little compositions are of this piece, never before has
high musical value and display Mozart’s original been so
rigorously adhered to: the
quality piano writing. At the
edition is based on the Urtext
same time they are appealing
from the New Mozart Edition.
to children. The humorous
drawings will greatly entertain  Eine kleine Nachtmusik in
young pianists. an idiomatic arrangement
Baroque for piano
 Apache Song / BA 8764
On the Train / Step Dance /  Easy to moderately difficult
Granny / Irish Song / Classical piano writing
The Elephant Kari / BA 8765
Basil Boogie / Gallop /  With fingering and tips on
The Ballad of King Henry / Romantic ornamentation (Ger/Eng)
BA 8766
A Little Night Music
This three-volume collection
of well-written, exquisite
arrangements covers a wide
range of musical styles,
enabling pianists to explore
the great possibilities of their
instrument. Pianists will
enjoy playing these pieces of
moderate difficulty.
 “These volumes will no

doubt bring much satisfaction
to many a Sunday pianist!”
(Piano Journal)
8
PIANO SOLO
Kleeb, Jean
Jazz / Latin American (*1964) Jazz-inspired
Baila Negra. 10 new
Latin-American Piano Pieces
Works for Piano
Series Ready to Play
BA 10604
The ten pieces of this edition
are all rhythmically lively, fun
to play and easy to learn. They
are written varyingly using 2/4,
3/4 or 4/4 time signatures and
originate in Brazil, Columbia,
Peru and Argentina. The pieces
are either based on traditional
music or they are more recent
works which have gained
popularity.
Jazzy Piano
Classic goes Jazz Series Ready to Play
Arrangements by Jean Kleeb BA 10627 Schulhoff, Erwin
With a CD including all pieces A collection of pieces in jazzy (1894-1942)
BA 8760 style, some based on folk Jazz-inspired Works
Classical themes are the basis tunes, some with blues Urtext / Ed. M. Kube
for Jean Kleeb’s varied, jazz- character, also including a BA 9559
orientated piano arrangements. spiritual, a Mozart and a Bach
He is adept at taking the best- arrangement. Erwin Schulhoff was a German-
known baroque, classical and speaking composer who was
romantic themes and placing born in Prague in 1894 and died
them in a new light. “Classical” in the Nazi concentration camp
as well as jazz pianists will in Wülzburg (Bavaria) in 1942.
derive a great deal of enjoyment In the 1920s he returned to his
from this selection. native Prague to teach at the
local conservatory. His
Dvořák, Milan compositions, with their blend
(*1934) of traditional genres, jazz
syncopations, dance rhythms
Jazz Studies (Cz/Ger/Eng) and moderately expanded
Volume 1: H 5020 tonality, were fully attuned to
Volume 2: H 7082 the tenor of the times.
In order to get acquainted with This edition contains five of
jazz piano playing the pianist Schulhoff ’s piano cycles with a
needs to cope with the technical total of thirty-five jazz-inflected
demands as well as the pieces. This is the first Urtext
expressive phrasing of jazz. edition of this music and draws
These range from characteristic Mozart goes Jazz
Arrangements by Jean Kleeb on the original prints comparing
accentuation, distinctive them with the surviving
syncopation, inverted mordents, BA 8761
handwritten sources. Errors
playing in “blocks” to rhythmical have been corrected and
independence of the right hand These arrangements invite
pianists to dive into the distinctive traits of Schulhoff ’s
from the left. These studies offer notation retained.
ways to explore different styles harmonic and rhythmic
universe of jazz, lending a
and genres. Helpful guidance
new guise to such well-known
 Partita (1922) / Cinq
notes to ensure correct Études de jazz, op. 58 (1926) /
interpretation are also included. pieces as the Rondo alla turca
Esquisses de jazz. Six easy
or the second movement of
pieces, op. 64 (1927) / Hot
Hradecký, Emil the A major Piano Concerto
Music. Ten syncopated etudes,
(*1953) (K. 488). The edition offers a
op. 67 (1928) / Suite dansante
glimpse into the art of piano
Jazz Etudes for Young Pianists en jazz, op. 74 (1931)
improvisation and includes
(Cz/Ger/Eng) suggestions for the player’s  First Urtext edition
H 7974 own performance.
PIANO SOLO
Easy Piano Pieces and Dances

Edited by Michael Töpel
“The series of Easy Pieces and Dances by the Classical

masters, carefully edited by Michael Töpel, is an ideal
starting point for students and teachers, and a
refreshing addition to the usual anthologies.”
“A boon to piano teachers …” (Piano Journal)
Martinů, Bohuslav Mozart, Wolfgang Amadeus

(1890-1959) NEW 2016 (1756-1791)
Ed. L. Harasim Berná BA 5327
BA 9586
In this Easy Piano Pieces and Ravel, Maurice
Dances album, Martinů’s (1875-1937)
four-part piano cycle Quarter BA 6580
Bach, Johann Sebastian and Eighth Notes, composed
(1685-1750) in Paris in 1937, appears for
BA 6572 the first time. It is devoted to Satie, Erik
changes of metre and tempo. (1866-1925)
Beethoven, Ludwig van BA 6574
(1770-1827) The work, previously known
BA 6560 only from his correspondence,
was long considered lost until Schubert, Franz
a copyist’s manuscript of it (1797-1828)
Brahms, Johannes BA 5639
(1833-1897) resurfaced in Brno in 2011. The
BA 6566 jazz piece One Step, composed
in 1921, is also made accessible Schumann, Robert
here for the first time. It (1810-1856)
Chopin, Frédéric hitherto only existed in the
(1810-1849) BA 6567
composer’s autograph.
BA 6565
Mendelssohn Bartholdy, Felix Tchaikovsky, Peter
Debussy, Claude (1809-1847) (1840-1893)
(1862-1918) BA 6568 BA 6576
BA 6573
Grieg, Edvard
(1843-1907)
BA 6575
Handel, George Frideric

(1685-1759)
BA 6578
Haydn, Joseph
(1732-1809)
BA 4631
Liszt, Franz
(1811-1886)
BA 6577
10
PIANO SOLO
Composers A-Z
Bach, Carl Philipp Emanuel

(1714-1788)
The Six Prussian Sonatas

Wq 48
BA 6539
The Six Württemberg Sonatas

Wq 49
BA 6498
Bach, Johann Sebastian

(1685-1750)
(1685-1750)
The Art of Fugue
BWV 1080 Goldberg Variations BWV 988
Urtext / Ed. K. Hofmann Fourth Part of the Clavier Übung
BA 5207 Urtext with fingering /
Ed. C. Wolff
Chromatic Fantasy and Fugue Fingering for the modern
in D min BWV 903 piano by R. Schirmer  Scholarly-critical Urtext
Urtext / Ed. U. Wolf BA 10848 performing edition based
BA 5236 on the New Bach Edition
Bach’s Goldberg Variations
Easy Piano Pieces and Dances have remained a challenge for  With fingering for
BA 6572 every harpsichord player and performance on modern
 page 10 pianist to the present day. pianos as well as a
One special problem with commentary regarding the
Goldberg Variations BWV 988 performances on a modern fingering
Fourth Part of the Clavier piano is that Bach wrote this
Übung work for a two-manual  Division of parts between
Urtext / Ed. C. Wolff harpsichord. Ragna Schirmer’s the hands based on Bach’s
BA 5162 fingering offers the most original print
convenient solutions for the
many crossings of the hands
necessary on the piano. She  “This single edition will
also took the engraving of the enhance Bärenreiter’s already
original print of 1741 as an comprehensive library of
important guide for dividing publications of Bach’s keyboard
the parts between the hands. works.“ (Piano Professional)
PIANO SOLO
Composers A-Z

(1685-1750)
Inventions and Sinfonias
BWV 772-801
Urtext / Ed. G. v. Dadelsen
BA 5150
Inventions and Sinfonias
BWV 772–801
Urtext with fingering /
Ed. G. v. Dadelsen
Fingering by R. Kretschmar-
Fischer
BA 5241
Italian Concerto BWV 971

Urtext / Ed. W. Emery
BA 5194
Italian Concerto BWV 971 From: Bach, Inventions and Sinfonias BWV 772-801 · BA 5150
Ed. W. Emery / Fingering by Volume II: Seven concertos authorship has been either
R. Kretschmar-Fischer based on works by Vivaldi and verified by the musicologists at
BA 5244 others BWV 978-984 the New Bach Edition or where
BA 5222 there is a degree of certainty
Italian Concerto BWV 971, about this.
French Overture BWV 831 Volume III: Five concertos
(with early version BWV 831a) based on works by Vivaldi and The edition gathers together
Second Part of the Clavier others BWV 985-987, 592a, a range of different types of
Übung 972a (First Edition). 2 Sonatas composition: preludes and
Urtext / Ed. W.Emery and Fugue based on works by fugues, toccatas, dance and
BA 5161 Reinken BWV 965, 966, 954 concert works. Two
BA 5223 adaptations of the violin solo
Keyboard Arrangements of sonatas BWV 1003 and 1005
Works by Other Composers I-III Keyboard Works demonstrate particularly
Urtext / Ed. K. Heller of Doubtful Authenticity clearly something which
Urtext / Eds. U. Bartels, applies to all the other works
Volume I: Six concertos based in this volume: whether Bach’s
on works by Vivaldi and others F. Rempp
BA 5250 authorship is doubtful or not,
BWV 972-977 there is no question that this
BA 5221 E 12,80 This edition combines all is a collection of fascinating
those pieces where Bach’s music.
12
PIANO SOLO
Bach, Johann Sebastian Musical Offering BWV 1079 Six Partitas. First Part of the
(1685-1750) Volume 1: Ricercari for Clavier Übung BWV 825–830
harpsichord Urtext with fingering /
Keyboard Works Urtext / Ed. C. Wolff Ed. R. D. Jones
attributed to J. S. Bach BA 5154 Fingering by R. Schirmer
Urtext / Eds. U. Bartels, BA 5247
F. Rempp Notebook for Anna
BA 5249 Magdalena Bach, 1725  With information on playing
Urtext / Ed. G. v. Dadelsen technique from Bach’s circle
This edition complements the BA 5164 of pupils
volume of Keyboard Works of
Doubtful Authenticity Notebook for Anna Toccatas BWV 910-916
(BA 5250). It contains works Magdalena Bach, 1725 Urtext / Ed. P. Wollny
which have survived bearing Urtext with fingering / BA 5235
Johann Sebastian Bach’s name Ed. G. v. Dadelsen
or were later attributed to Fingering by
Bach, but where Bach has R. Kretschmar-Fischer
been ruled out as composer in BA 5242
the opinion of the editors on
stylistic grounds or following Notebook for Anna
a critical examination of the Magdalena Bach, 1725
sources. Urtext / Ed. G. v. Dadelsen
Bibliophile performing edition
Little Piano Pieces BA 5115 Hardback
A selection of 27 pieces
from the Notebook for Anna Notebook for Friedemann Bach
Magdalena Bach and from Urtext / Ed. W. Plath
the Notebook for Wilhelm BA 5163
Friedemann Bach
Ed. F. Doflein Preludes and Fughettas
BA 1766 composed in conjunction with
the Well-Tempered Clavier II
Little Preludes and Fughettas Urtext / Ed. A. Dürr
Urtext / Eds. A. Dürr, BA 5200 The Well-Tempered Clavier I
Th. Kohlhase, W. Plath, U. Wolf BWV 846-869
Compiled by M. Töpel, A. Erényi The Six English Suites Urtext / Ed. A. Dürr
BA 5238 BWV 806-811 BA 5191
Urtext / Ed. A. Dürr
Miscellaneous Works BA 5165 The Well-Tempered Clavier II
for Clavier I-III BWV 870-893
The Six French Suites Urtext/ Ed. A. Dürr
Volume I BWV 812-817. Versions A and BA 5192
Urtext / Ed. U. Wolf B as well as the alternative
BWV 933-938 (six little versions BWV 814a, 815a /
preludes), 917, 918, 921, 922, and the Two Suites BWV 818, Complete Piano Solo Works
894-896, 903, 903a 819, 818a, 819a Urtext. 4 study scores in a set
BA 5232 Urtext / Ed. A. Dürr TP 2002  page 51
BA 5219
Volume II
The Six French Suites Barraqué, Jean
Urtext / Ed. U. Wolf
BWV 812-817 (1928-1973)
BWV 904, 906, 923/951, 951a,
944, 946, 948-950, 952, 959, Embellished version Sonate pour piano (1950-52)
961, 967 Urtext / Ed. A. Dürr Ed. H. Henrich
BA 5233 BA 5166 BA 7284
Volume III Six Partitas. First Part of the Beethoven, Ludwig van
Urtext / Ed. H. Eichberg, Clavier Übung BWV 825–830 (1770-1827)
Th. Kohlhase Urtext / Ed. R. D. Jones
BWV 992, 993, 989, 963, 820, BA 5152 Easy Piano Pieces and Dances
823, 832, 833, 822, 998 BA 6560  page 10
BA 5234
Für Elise
H 2018
PIANO SOLO
Beethoven, Ludwig van

(1770-1827)
NEW 2016
Three Sonatas
in F min, A maj, C maj op. 2
Urtext / Ed. J. Del Mar
With an Introduction
by M. Donat and notes on
performance practice
by J. Del Mar and M. Donat
BA 10859
The frequently played Sonatas

op. 2 stem from the time when
the young composer took
lessons from Joseph Haydn in
Vienna and are dedicated to
his teacher. After Beethoven’s
three early sonatas which he
wrote as a youth in Bonn, the
so-called “Kurfürsten-Sonaten”, From: Beethoven, Grande Sonate pathétique in C min op. 13 · BA 10851
Beethoven started 10 years later,
in the mid 1790s, to develop
a style independent from the
legacy of Mozart and Haydn and The three popular sonatas of Grande Sonate
presented with his op. 2 his first op. 10 were written between pathétique in C min op. 13
fully valid piano sonatas. late 1795 and early 1798, and Urtext / Ed. J. Del Mar
thus shortly after Beethoven’s With a foreword by H. Hein
W 2017 first fully fledged set of sonatas, and notes on performance
Three Sonatas NE op. 2. The highlight of these practice by M. Aschauer
in C min, F maj, D maj op. 10 technically demanding works is BA 10851
Urtext / Ed. J. Del Mar the third sonata with its highly
With an Introduction expressive Largo e mesto. The Sonata in C minor op. 13 was
by M. Donat and notes on Beethoven’s first large work in
performance practice this genre and a prime example
by J. Del Mar and M. Donat of the late 18th century piano
BA 10857 sonata. To this day it remains a
To appear in the spring of 2017 source of fascination with its
ardent pathos and emotional
coherence.
14
PIANO SOLO
Beethoven Sonatas in
Bärenreiter Urtext Editions
Bärenreiter’s new Urtext editions of the complete Beethoven piano sonatas are edited by
Jonathan Del Mar, an internationally acclaimed and experienced authority on Beethoven.
He has meticulously examined every available source and evaluated the various impressions
of prints issued during Beethoven’s lifetime. The works appear with a carefully edited musical
text at the cutting edge of scholarship; with a critical commentary documents
all alternative readings and editorial decisions.
Elegant and spacious engraving with practical page-turns invites readers to explore the music.
Detailed introductions on the genesis and significance of the sonatas are
complemented by valuable suggestions regarding period performance practice.
Sonata quasi una Fantasia At the dawn of the 19th century

in E-flat maj op. 27 no. 1 Beethoven struck out on new
Sonata quasi una Fantasia paths with his two opus 27
in C-sharp min “Moonlight” sonatas, each of which he called
op. 27 no. 2 a ‘sonata quasi una fantasia’.
Urtext / Ed. J. Del Mar Both of them, in particular
With an Introduction by Sonata no. 2 which was later
M. Donat and notes on nicknamed the ‘Moonlight
performance practice by Sonata’, were destined for
J. Del Mar and M. Donat immortality.
BA 10853
Sonatas in E maj, NE
W 2016
G maj op. 14 nos. 1 and 2
With an Introduction by
M. Donat and notes on
performance practice by
J. Del Mar and M. Donat
BA 10855
Composed at about the same

time as the Grande Sonate
pathétique op. 13, the two
op. 14 sonatas are among the
easiest Beethoven ever wrote
and an indispensable part of
piano lessons. Their lyrical,
almost chamber-like textures
and moderate difficulty make
them an ideal introduction to
the rich legacy of Beethoven’s
sonatas.
From: Beethoven, Sonata quasi una Fantasia in E-flat maj op. 27

Discover baerenreiter.com no. 1 · BA 10853 15
(1770-1827)
Sonata in D maj NEW 2016

op. 28 “Pastorale”
by M. Donat and notes on
BA 11814
The lyrical D major Sonata op. 28

stems from Beethoven's middle
period and was nicknamed
“Pastorale” by the publisher of
the original edition.
Three Sonatas
W 2017
NE
in G min, D min, E-flat maj
op. 31 From: Beethoven, Sonata in D maj op. 28 “Pastorale” · BA 11814
by M. Donat and notes on The centrepiece is undoubtedly One must look long and hard to
performance practice the dramatic D minor Sonata, find a piano pupil who hasn’t
by J. Del Mar and M. Donat nicknamed ‘The Tempest’, which played Beethoven’s two ‘sonate
BA 11805 already fascinated his facile’ op. 49. They are not only
To appear in the summer of 2017 contemporaries. ‘This sonata is easy to play but highly lyrical
perfect’, recalled Czerny, who and effective, ideally combining
With his three op. 31 sonatas, referred to it as a ‘tone painting’. joy in music-making with an
composed in summer 1802, early mastery of high-quality
Beethoven achieved great classical literature. Beethoven
Two Sonatas NE W 2017 wrote the two sonatas between
mastery. ‘I’m dissatisfied with
my works to date; from now on in G min and G maj op. 49 the mid-1790s and roughly 1798.
I’ll take a new path.’ Urtext / Ed. J. Del Mar
His statement seems especially With an Introduction
apt in view of these three works. by M. Donat and notes on
BA 10858
16 To appear in the spring of 2017
Beethoven Sonatas in
Bärenreiter Urtext Editions
Grande Sonate NE
W 2016
Sonata in F-sharp maj NEW 2017
in C maj op. 53 “Waldstein” op. 78
Urtext / Ed. J. Del Mar Urtext / Ed. J. Del Mar
With an Introduction by With an Introduction by
M. Donat and notes on M. Donat and notes on
performance practice by performance practice by
J. Del Mar and M. Donat J. Del Mar and M. Donat
BA 10856 BA 11807
To appear in the spring of 2017
The Grand Sonata in C major
op. 53 (1803-04) marks It is hard to believe that this
Beethoven’s turn towards highly lyrical and moderately NEW 2016
large-scale symphonic difficult sonata of 1809 was
influenced piano works. Since preceded by the supremely
its first publication this highly dramatic ‘Appassionata’
virtuosic piece, dedicated to Sonata in F major, op. 57 (BA
Beethoven’s friend and patron 10852). Beethoven dedicated
Ferdinand Count Waldstein, it to his pupil Therese von
has lost none of its magnetism. Brunsvick, occasionally said by Sonata in A maj op. 101
To this day it remains a scholars to be his ‘Immortal Urtext / Ed. J. Del Mar
pianistic challenge and a Beloved’. It is also to her that With an Introduction by
musical touchstone for every the sonata owes its nickname, M. Donat and notes on
performer. ‘À Thérèse’. performance practice by
Sonata in F min BA 11811
op. 57 “Appassionata” NEW 2017
Sonata in G maj In January of 1817 Beethoven
op. 79 informed his publisher that
With an introduction by
Urtext / Ed. J. Del Mar henceforth all his works
M. Donat and notes on
With an Introduction by should use “Hammerklavier” in
M. Donat and notes on place of “Pianoforte”. This
performance practice by instruction was carried out only in
BA 10852
J. Del Mar and M. Donat connection with op. 101 and op. 106,
BA 11815 the latter bears the nickname of
The nickname ‘Appassionata’
To appear in the spring of 2017 “Hammerklavier” to this day.
was ascribed to the sonata
op. 57 only in 1838, long after
This little piece, called a ‘sonata’ In this edition great care was
Beethoven’s death.
in the autograph but a ‘sonatina’ given to a user-friendly layout
 “This is a wonderfully
in the first German edition,
belongs to the standard
which on the one hand was to
scholarly yet practical edition, reflect the flow and tempo of
teaching repertoire. Beethoven’s the music and on the other hand
and I look forward to more
autograph, written in 1809, was to facilitate the study of this
individual sonatas and of
had a tortuous history: Muzio technically demanding work by a
course the complete volumes.“
Clementi extracted the transparent and clear appearance
(Piano Professional)
movements from the on the page and good page turns.
manuscript and sold them
separately. Only a stroke of luck Particularly enlightening in this
allowed them to be reunited edition is the Preface which includes
 Scholarly-critical Urtext many years later. information on idiosyncracies
performance editions at the of Beethoven’s notation (Slurs,
cutting edge of scholarship Punkte versus Striche) as well
 Optimal page turns as on aspects of performance
practice (Instruments, Pedalling,
 Informative introductions Tempo, Dynamics, Articulation,
(Eng, Ger) Accents, Ornaments, Repeats).
 Valuable suggestions on
period performance practice
(Eng, Ger)
 Critical Commentaries (Eng)
Johannes Brahms
Master of Romantic Piano Music
Brahms, Johannes
(1833-1897)
Albumblatt for Piano

Urtext / Ed. C. Hogwood
BA 9606
From: Brahms, Albumblatt · BA 9606
During his research, Hogwood
came across an unpublished
source which had not been Fantasies op. 116 Waltzes op. 39
taken into consideration for any Urtext with fingering / Urtext with fingering /
previous edition. In a guest book Ed. C. Köhn Ed. C. Köhn
– which included contributions BA 9628 Fingering and suggestions
from Robert and Clara Schumann, for performance by the editor
Mendelssohn, Jenny Lind, Three Intermezzi op. 117 BA 9602
Rossini and Liszt – Brahms had Urtext with fingering /
notated a short piano piece. Ed. C. Köhn Waltzes op. 39
The source consists of a one- BA 9629 Easy version
page autograph of this literal (arranged by the composer)
Albumblatt (untitled by Brahms). Piano Pieces op. 118 Urtext with fingering /
The composer used it 12 years Urtext with fingering / Ed. C. Köhn
later – revised and transposed Ed. C. Köhn Fingering and suggestions
from A minor to A-flat minor – BA 9630 for performance by the editor
in his Horn Trio. BA 9603
Piano Pieces op. 119
Ballades op. 10 Urtext with fingering / Brahms’ popular 16 Waltzes,
Urtext with fingering / Ed. C. Köhn opus 39, composed in 1866 for
Ed. C. Köhn BA 9631 four hands, were transcribed by
Fingering and suggestions Brahms one year later for two
for performance by the editor Variations and Fugue on hands.
BA 9601 a Theme by Handel op. 24
Urtext with fingering / At the request of his publisher,
Brahms wrote the ballads Ed. C. Köhn Brahms also wrote an easier
during the time of his close Fingering and suggestions for version of the work for solo
friendship with Clara Schumann, performance by the editor piano. Brahms himself described
and they exude an intimacy BA 9607 the first version as suitable for
typical of the vocal ballad. ‘reasonable hands’, that is, for
The pieces, which Schumann  “In sum, a state-of-the-art proficient players, and the easier
enthusiastically praised, were publication of a seminal version as ‘perhaps for prettier
modestly described by Brahms Romantic work.” hands’, that is, for domestic
as being ‘not too difficult to (International Piano) music making.
play and even less difficult to
understand.’
18
PIANO SOLO
Chabrier, Emmanuel Chopin, Frédéric

Composers A-Z (1841-1894) (1810-1849)
Brahms, Johannes Habanera Easy Piano Pieces and Dances

(1833-1897) Urtext with fingering / BA 6565  page 10
Ed. B. Schilling-Wang
Easy Piano Pieces and Dances Fingering by T. Stefanovich
BA 6566  page 10 BA 10839
Chopin, Frédéric
Chabrier’s Habanera was
Rácóczi-Marsch for piano. (1810-1849)
First Edition.
circulated in various NEW 2016
arrangements but Bärenreiter
Ed. M. Töpel Vingt-quatre Préludes
has published here the first
BA 6557 pour le piano op. 28
scholarly-critical edition of the
Prélude pour le piano op. 45
original version for piano. This
Cabezón, Antonio de Urtext / Ed. C. Flamm
striking piece is ideal for
(1510-1566) Fingering and notes on
teaching purposes and
includes fingering as well as
Selected Works for Keyboard H. Rittner
a well-presented layout with
Urtext / Eds. G. Doderer, BA 9610  page 20
optimum page turns.
M. B. Ripoli
Volume I
Hymnes and Versets as the distinction between
BA 9261 curved ties and straight legato
slurs, thereby giving today’s
Volume II players fascinating insights
Hymnes, Versets and Tientos into the special sound of this
BA 9262 music.
Volume III The editor has, for the first

Glosados time, closely analysed the
BA 9263 various proofs of the original
edition, some of which he
Volume IV discovered himself. He lists
Glosados and Diferencias these alternative readings
BA 9264 in the Critical Commentary.
The edition also presents
conflicting versions of
SPECIAL SET PRICE several pieces as well as an
BA 9270 · Set of all 4 volumes anonymous work possibly
Couperin, François attributable to Couperin. A
(1668-1733) detailed Foreword, notes on
Antonio de Cabezón is period performance practice
regarded as having been Pièces de clavecin NEW 2016 and facsimile illustrations
the leading Spanish organist Premier livre (1713) round off this edition, making
and keyboard player of the Urtext / Ed. D. Herlin it indispensable to all admirers
16th century. This Urtext With notes on performance and performers of French
edition contains his best- practice clavecin music.
known works. BA 10844

First evaluation of an
 “This highly recommended The original edition of the extensive number of
edition goes a long way in first volume of Couperin’s sources
offering such a representative Pièces de clavecin (1713),
collection, … and will remain supervised by the composer 
With Couperin’s original
the standard anthology for himself, is noteworthy for expression marks
many years.” (The Diapason) its extraordinary notational
precision. It contains exacting 
Contains optimum page
performance instructions, for turns
which Couperin created his
own symbols. This new Urtext 
Notes on performance
edition in a modern engraving practice, detailed Foreword
retains the essential features (Fr/Eng) and a Critical
of the original print, such Commentary (Eng)
Historically Informed View of the Préludes
Chopin, Frédéric
(1810-1849) NEW 2016
Vingt-quatre Préludes
pour le piano op. 28
Prélude pour le piano op. 45
Urtext / Ed. C. Flamm
Fingering and notes on
H. Rittner
BA 9610
Hardly any cycle of piano

pieces can match the magnetic
attraction of Chopin’s 24
Préludes, published in 1839.
Schumann called them ‘sketches,
beginnings of études, [...] ruins,
stray eagle’s pinions, all
disorder and wild confusion’.
Christoph Flamm has critically

reevaluated the sources,
bringing to light new readings
of this well-known musical
text. Hardy Rittner, a
hammerklavier specialist and
two-time winner of the ECHO to pedalling, rubato, latent 
Urtext edition with new
Classic prize, who has recorded polyphony, legato and Chopin’s findings
Brahms’ piano music and all of perception of sound.
Chopin’s Études on period 
Notes on period
pianofortes, has supplemented An aesthetically presented performance practice
Chopin’s fingering from a engraving and practical (Ger/Eng)
historically informed page-turns make this current

With historically informed
perspective. He also provides edition indispensable for
valuable notes on performance today’s scholars and fingering
practice, especially with regard performers. 
Practical page turns

Numerous facsimiles

Informative Foreword
(Ger/Eng) and detailed
Critical Commentary (Eng)
20
French Impressionism: Claude Debussy
Debussy, Claude
(1862-1918)
Images
Ed. D. Woodfull-Harris
Preface and notes on
by B. Schilling-Wang,
Fingering by T. Stefanovich From: Debussy, Images 2e série · BA 10822
Images 1 série
re
(Reflets dans l’eau, Hommage

à Rameau, Mouvement) The fingering by Martin
BA 10821 Volume 1 Widmaier traces musical lines Children’s Corner
and supports sensitive sound BA 8767
Images 2e série production. There are also
(Cloches à travers les feuilles, special fingering exercises to Deux Arabesques
Et la lune descend sur le temple assist in the learning of the BA 8768
qui fut, Poissons d’or) chordal structures.
BA 10822 Volume 2 Pour le piano
 “I like everything about this BA 8770
The virtuoso piano writing – edition.” (Pianist Magazine)
in the second book notated
throughout on three staves – Suite bergamasque
Préludes 2nd livre BA 8769
is “a real revolution in the art
BA 10819 Volume 2
of piano music” (Louis Laloy).
In preparation
Préludes pour Piano Each edition:
 “I defy anyone not to be Urtext with fingering /
inspired and motivated to prac- Ed. R. Back
Ed. T. Kabisch
tise Debussy with extra zeal and Fingering by F. Palme
Fingering by M. Widmaier
pleasure after studying
these beautiful Urtext editions. Of particular interest is the
Préludes 1er livre
Not only is there immaculate detailed introduction to each
BA 10818 Volume 1
typesetting, presented in volume, which includes a
generous layout, there are also history of the work and
Debussy links the 12 Préludes
facsimiles of extracts from valuable information
in his first book not by a tonal
manuscripts and first editions. regarding pedalling, tempo
scheme, but by means of a
Highly recommended.” and phrasing, fingering,
chain of associative mottos or
(International Piano) articulation and dynamics.
titles which appear at the end
of each piece and which may
give a hint of the overall poetic Easy Piano Pieces and Dances
content. BA 6573  page 10
Piano solo
Dvořák, Antonín
The Czech composer František (1841-1904)
Xaver Dušek was an
outstanding pianist, composer Humoresques op. 101
and teacher whose pupils H 1274
included Leopold Koželuch.
Humoresque in G-flat maj
This edition in two volumes op. 101 No. 7
contains all 23 of his surviving Urtext / Eds. P. Kvasničková,
piano sonatas, many of which M. Štĕdroňská
were previously accessible only With Preface, Critical
in old prints or manuscripts. Commentary and facsimile
They are presented in pages
chronological order by BA 9503
publication date.
Slavonic Dances op. 46
Volume II contains sonatas (Series I) for piano solo
left unpublished in Dušek’s Arranged by K. Šolc
Dušek, František Xaver lifetime and preserved in H 1359
(1731-1799) manuscript form. Three of them
appear here for the first time.
NEW 2016
Complete Sonatas
for Keyboard  First complete scholarly-
Urtext / Ed. V. Spurný critical edition
 Three previously
Volume I unpublished sonatas
BA 11513
 Foreword (Cz/Eng/Ger) and
Volume II Critical Commentary (Eng)
BA 11514
 Easy to play and suitable
for teaching purposes
Ebner, Wolfgang
(1612-1665) /
Muffat, Georg
(1653-1704)
Complete Works
for Keyboard (Organ)
First Edition.
Urtext / Ed. S. Rampe
Volume I: BA 8419
Volume II: BA 8460
Georg Muffat was no less

significant than Buxtehude,
Pachelbel and the Krieger
brothers as a forerunner to
Johann Sebastian Bach.
Wolfgang Ebner was organist

and later “Kapellmeister”
at St. Stephen’s in Vienna
at the same time as Johann
Jacob Froberger. He taught
the future Habsburg emperor
Leopold I and wrote music that
was the equal of Froberger’s
in virtuosity and contrapuntal
rigour.
 First publication of two

From: Dušek, Complete Sonatas for Keyboard, Vol. 1 · BA 11513 outstanding 17 th century
composers
22
PIANO SOLO
Frescobaldi, Girolamo Volume III

Fauré, Gabriel (1583-1643) Il Secondo Libro di Toccate
(1845-1924) (Rom, Borboni, 1627, 21637)
Urtext with fingering by the Organ and Keyboard Works BA 8414
composer or Louis Diémer / Urtext / Ed. C. Stembridge
Ed. C. Grabowski with K. Gilbert  “… this new edition must
stand as the definitve Source
 Detailed forewords to the Volume I.1 for the great man’s work,
editions offer information Recercari et Canzoni franzese attracting the academic as well
on the genesis and (Roma, Zannetti, 1615, 21618) as the layman by the extremely
significance of the BA 8411 eloquent approach, …”
compositions as well as “… worth every penny.”
valuable suggestions on Volume I.2
(Harpsichord Fortepiano)
historical interpretation. Toccate e Partite d’intavolatura
 All the available manuscript
di cimbalo; libro primo (Rom,
Borboni, 1615, 21616)
 “This edition will prove
and printed sources as well to be a constant source of
BA 8412
as piano rolls containing reference and a stimulant to
recordings by the composer Volume II further engagement – a most
have been taken into Il Primo Libro di Capricci fatti welcome publication.”
consideration, leading to sopra diversi Soggetti, et Arie (Choir & Organ)
new discoveries particularly (Rom, Soldi, 1624)
regarding the Valses-Caprices. BA 8413 The edition will comprise six
volumes.
 Based on the Œuvres
complètes de Gabriel Fauré
Ballade op. 19
BA 10841
Fauré dedicated his Ballade,
composed in 1879, to his
teacher Camille Saint-Saëns.
Structurally and in terms of
its lyrical character the work
breaks from the genre’s epic
form and takes on the traits
of the sonata form.
Barcarolles
BA 10842
Fauré’s 13 Barcarolles are highly
representative of his output
for piano and are regarded as
his most characteristic works.
Valses-Caprices
BA 10843
From: Fauré, Valses-Caprices · BA 10843
PIANO SOLO
Grieg, Edvard
Composers A-Z
Volume VI.2 (1843-1907)
Keyboard and Organ Works
from Copied Sources. Easy Piano Pieces and Dances
New Sources, New Readings, BA 6575  page 10
NOW COMPLETE New Works 2
BA 9269 Handel, George Frideric
Froberger, Johann Jacob (1685-1759)
(1616-1667) Volume VII
Works for Ensemble and Easy Piano Pieces and Dances
New Edition of the Catalogue of the Complete BA 6578  page 10
Complete Works Works (FbWV)
Urtext / Ed. S. Rampe, assisted BA 9298
by K. Gilbert, S. Jutz, K. D. Peik
and L. Praetorius
SPECIAL SET PRICE
Volume I
Libro Secondo (1649) BA 9299 · Set of 11 volumes
BA 8063
Volume II  Bärenreiter Urtext with
Libro Quarto (1656). Libro di many newly discovered
Capricci e Ricercari (c. 1658) works
BA 8064
 Introductory discussion of
Volume III.1
genesis, sources,
performance practice and
from Copied Sources. Partitas
editorial method in each
and Partita Movements, Part 1a
volume (Ger/Eng),
BA 8065
Critical Report (Ger)
Volume III.2
from Copied Sources. Partitas  “... this publication of
Keyboard Works I
First Set of 1720. The Eight
and Partita Movements, Part 1b Froberger’s suites will set a Great Suites HWV 426–433
BA 8435 benchmark for future Urtext / Eds. R. Steglich, T. Best
scholastic investigation.” BA 4224
Volume IV.1 (Clavichord International)
from Copied Sources. Partitas Keyboard Works II
and Partita Movements, Part 2  “… the definitive edition Second Set of 1733: Suites
de Pièces pour le Clavecin
BA 8066 for his wonderful music …” HWV 434–442
(The Diapason) Urtext / Eds. P. Northway, T. Best
Volume IV.2
Keyboard and Organ Works BA 4221
from Copied Sources. Partitas
and Partita Movements, Part 3 Keyboard Works III
Furrer, Beat Miscellaneous Suites and Pieces
BA 8434 (*1954) First Part
Volume V.1 Urtext / Ed. T. Best
Keyboard and Organ Works drei klavierstücke (2004) BA 4222
from Copied Sources. Toccatas BA 9326
BA 9211 Keyboard Works IV
phasma for piano (2002) Miscellaneous Suites and Pieces
Volume V.2 BA 8558
Keyboard and Organ Works Second Part
from Copied Sources. Urtext / Ed. T. Best
Study for Piano (2011) BA 4223
Polyphonic Works BA 9355
BA 9212
Graham, Peter SPECIAL SET PRICE
Volume VI.1 (*1958)
Keyboard and Organ Works BA 4262 · Set of all 4 volumes
from Copied Sources. Subversive Etudes
New Sources, New Readings, BA 9585  page 7  Detailed introductory text
New Works 1 with notes on performance
BA 9213 practice (Ger/Eng)
24
PIANO
Janáček, Leoš Kleeb, Jean

(1854-1928) (*1964)
1. X. 1905 “Sonáta” Baila Negra. 10 new

Urtext with fingering / Latin-American Piano Pieces
Eds. L. Kundera, J. Burghauser Series Ready to Play
Fingering by R. Kvapil BA 10604  page 9
BA 9501
Jazzy Piano
In the Mists / V mlhách
BA 10627  page 9
Eds. L. Kundera, J. Burghauser
Fingering by R. Kvapil Koželuch, Leopold Antonin
BA 9500 (1747-1818)
Complete Sonatas
for Keyboard
Urtext / Ed. C. Hogwood
Haydn, Joseph
(1732-1809) Volume I: 12 sonatas
NEW 2017
from the years 1780–1784
Late Piano Sonatas BA 9511
Ed. B. Moosbauer Volume II: 12 sonatas
With fingering and notes on from the years 1784–1786
performance practice by BA 9512
R. Maurer
BA 10804 Volume III: 13 sonatas
To appear in the spring of 2017 from the years 1788–1797
BA 9513
This volume marks the start Volume IV: 6 sonatas
of the publication of Haydn’s from the years 1807–1809,
complete piano sonatas in On an Overgrown Path / 1 sonata from the 1770s, 6
Bärenreiter Urtext editions. Po zarostlém chodnícku sonatas which exist only in
The late piano sonatas Series I-II manuscript
(Hob. XVI:40–42 and Hob. Urtext with fingering / BA 9514
XVI:48–52) are imaginative Eds. L. Kundera, J. Burghauser
masterpieces, an indispensable Fingering by R. Kvapil
component of piano BA 9502 SPECIAL SET PRICE
instruction and the concert
BA 9515 · Set of all 4 volumes
repertoire. Ježek, Jaroslav
(1906-1942)
The edition is supplemented As the foremost representative
by notes on classical Bugatti Step of Czech music in 18 th century
performance practice as well H 3156 Vienna, Leopold Koželuch was
as historically informed noted primarily as composer,
fingering, which enables A virtuosic piano foxtrot pianist and keyboard teacher.
important aspects of 18 th which, as the title suggests, His 50 keyboard sonatas span
century playing technique to was influenced by the his entire career and mark not
be applied to the modern composer‘s fascination with only the transition from the
piano. the Bugatti car. Throughout harpsichord and clavichord
the piece a pulsating rhythm manner to the fully idiomatic
suggests the vibration of a forte-piano style, but also the
Bugatti engine. evolution of the ‘classical
Haydn, Joseph sonata’ during three decades
(1732-1809) (1773–1806).
Kleeb, Jean
Easy Piano Pieces and Dances (*1964)
 Suitable for amateurs as
BA 4631  page 10 well as professionals; ideal
Classic goes Jazz
BA 8760  page 9 for teaching purposes
Flötenuhrstücke
Pieces for a Musical Clock  “The whole publication
arranged for piano makes me want to play it …”
EN 802 (Early Music Review)
PIANO SOLO
Liszt’s Sonata in B minor,

Composers A-Z
which appeared in 1854, is of
outstanding significance
Krenek, Ernst within the piano sonata genre.
(1900-1991) Bärenreiter’s Urtext edition
offers a clearly structured
Piano Sonata No. 5 op. 121 musical layout and practical
(1950) page turns thus providing the
BA 8193 best possible prerequisites for
studying and understanding
Piano Sonata No. 6 op. 128 this unique work.
(1951)
BA 8194  “Warmly recommended,
bringing the erudition and
Piano Sonata No. 7 op. 240 thoroughness of approach that
(1988) we have come to expect from
BA 8185 Bärenreiter.“
Liszt, Franz (International Piano)
Sechs Vermessene op. 168 (1811-1886)
(1958)
BA 3507 Sonata in B min for Piano
Urtext with fingering by the
composer / Ed. M. Kube
BA 9650
Krieger, Johann Philipp

(1649-1725) /
Krieger, Johann
(1651-1735)
Complete Organ and

Keyboard Works
Urtext / Eds. S. Rampe,
H. Lerch
Volume 1: J. Krieger:
Musicalische Partien (1697)
& Anmuthige Clavier-Übung
(1699)
BA 8402
Volume 2: J. Krieger and

J. P. Krieger: Works from Copied
Sources / Works of Uncertain
Authenticity with Appendices
BA 8406
Liszt, Franz
(1811-1886)
BA 6577  page 10
From: Liszt, Sonata in B min · BA 9650
26
PIANO SOLO
Martinů, Bohuslav
(1890-1959)
NEW 2016
Ed. L. Harasim Berná
BA 9586
Though Bohuslav Martinů

produced a lot of didactic
material for the piano, not all
of it has been published and
many delightful works have
remained unknown.
In this Easy Piano Pieces and

Dances album, Martinů’s
four-part piano cycle
Crotchets and Quavers
(Quarter and Eighth Notes),
composed in Paris in 1937,
appears for the first time. It is
devoted to changes of metre
and tempo. From: Martinů, Easy Piano Pieces and Dances · BA 9586
The work, previously known Martinů, Bohuslav The charming pieces all differ
only from his correspondence, (1890-1959) from one another in character.
was long considered lost until Martinů’s approach evolves
a copyist’s manuscript of it Film en miniature throughout and he displays a
resurfaced in Brno in 2011. The H 5709 mature and idiomatic style of
jazz piece One Step, composed piano writing.
in 1921, is also made Puppets / Loutky I-III
accessible here for the first Revised edition by A. Březina The pieces take the characters
time. It hitherto only existed Volume I: H 7875 of Italian commedia dell’arte
in the composer’s autograph. Volume II: H 7946 as their theme; Pierrot,
Along with these two Volume III: H 7963 Colombina and Harlequin.
‘discoveries’, this album Also included are dance and
contains the dance pieces that All 3 volumes combined: ball scenes as well as scenes
Martinů composed in Polička H 7970 from the ‘personal lives’ of
in the 1920s as well as the the puppets.
three-part cycle Christmas,  Detailed Preface and Critical
composed in Paris in 1927. Commentary (Cz/Ger/Eng/Fr) Spring in the Garden
These were previously H 3257
available in Compositions The three volumes of Puppets
for Polička. were composed between 1912
and 1925 in reverse order.
PIANO SOLO
Composers A-Z
Mendelssohn Bartholdy, Felix

(1809-1847)

BA 6568  page 10
Songs without Words

Ed. R. Larry Todd
Fingering by M. Kirschnereit
BA 9069
This edition includes all the

collections printed during
Mendelssohn’s lifetime,
together with those published
posthumously.
The appendix also contains a

selection of the Songs without
Words which have survived
individually, including two From: Mendelssohn Bartholdy, Songs without Words · BA 9069
pieces which have not been
available in modern editions
until now.
The edition contains both  “The musical texts are –
piano cycles in the versions as to be expected by Bärenreiter
Sieben Charakterstücke op. 7; published in the first edition. – printed in first-class quality
Sechs Kinderstücke op. 72 An extensive appendix also with fingering and expression
Urtext with fingering / includes variants and early markings. In conclusion:
Ed. H. M. Stüwe versions which survive in absolutely recommendable
Fingering by M. Kirschnereit different autograph editions for advanced players.”
BA 9083 manuscripts. (tastenwelt)
The Charakterstücke op. 7  Two of Mendelssohn’s most
and Kinderstücke op. 72 are famous piano albums with
Mendelssohn’s most pieces of easy to medium
popular piano albums besides level of difficulty
his Songs without Words and
the Variations sérieuses op. 54.  Different versions taken
into consideration
28
PIANO SOLO

(1756-1791)
“Ah, vous dirai-je Maman”

Twelve variations in C maj
for piano K. 265 (300 e)
Ed. K. v. Fischer
BA 5765
“Ah, vous dirai-je Maman”

Twelve variations in C maj
for piano K. 265 (300 e)
Urtext / Ed. K. v. Fischer
BA 4779
(1809-1847)
Variations for Piano

op. 54, op. 82, op. 83
Ed. H. M. Stüwe
BA 9082
The Variations op. 54 gave the

composer the impetus to study
this musical form in great
depth. Following on directly
from this work, Mendelssohn
wrote the Variations in E-flat
maj op. 82 and B-flat maj op.
83, published posthumously.
These are “lighter” works, both
in tonal approach and also in
their technical demands.
This publication brings

together Mendelssohn’s three
most important sets of
variations for piano. It is based
on the first editions, and for
the first time the numerous
variants, which survive in
different autograph
manuscripts, are also included.
This offers an insight into
Mendelssohn’s compositional
process and also widens the
field of artistic interpretation
possibilities.
 A comprehensive edition,
taking all variants into
consideration
From: Mozart, “Ah, vous dirai-je Maman” · BA 5765
PIANO SOLO
The only source that contains

Composers A-Z
the entire work is an
arrangement for solo piano by
the composer Cipriani Potter.
He produced his arrangement
before the auction took place
and published it in 1838 with
the added remark: “Arranged
from the original score in the
author’s own hand writing.”
Potter’s arrangement
preserves the extraordinarily
beautiful sound quality of
Mozart’s original for
performances without
orchestra. Our volume makes
this important source available
once again to performing
musicians. Mozart, Wolfgang Amadeus
(1756-1791)
Mozart, Wolfgang Amadeus Easy Piano Pieces and Dances NEW 2017
(1756-1791) BA 5327  page 10 Sonata in A maj
(with the Rondo “Alla Turca”)
Complete Piano Sonatas Fantasy in D min K. 397 (385g) K. 331 (300i)
Urtext / Eds. W. Plath, W. Rehm Urtext with fingering / Urtext / Ed. M. Aschauer
Ed. W. Plath BA 9186
Volume 1 Fingering by M. Kirschnereit To appear in the spring 2017
Nos. 1-9 K. 279-284, 309-311 BA 5764
BA 4861
Miscellaneous Works for Piano Mozart, Wolfgang Amadeus
Volume 2 (1756-1791)
Urtext / Ed. W. Plath
Nos. 10-18 K. 330-333, 457, 475,
BA 5745
533 + 494, 545, 570, 576 Unser dummer Pöbel meint.
BA 4862 10 Variations in G maj K. 455
Serenade in G maj “Eine kleine
Nachtmusik” K. 525 BA 4780
With fingering
Complete Variations for Piano Arranged for piano by M. Töpel Mozart goes Jazz
Urtext / Ed. K. v. Fischer BA 9160  page 8 Arranged by Jean Kleeb
BA 5746 BA 8761  page 9
Sonata in C maj “facile” K. 545
Concert Rondo in A maj K. 386 Urtext with fingering / Muffat, Georg
Arranged for solo piano by Eds. W. Plath, W. Rehm (1653-1704) /
Cipriani Potter (1792-1871). Fingering by M. Kirschnereit Ebner, Wolfgang
Ed. M. Töpel BA 5763 (1612-1665)
BA 5768
 Notes on interpretation Complete Works
The manuscript of Mozart’s (Ger/Eng) for Keyboard (Organ)
Rondo for piano and orchestra First Edition.
has an incredible history. The  Preface on the genesis and Urtext / Ed. S. Rampe
almost complete autograph history of the work
score was sold page by page (Ger/Eng) Volume I: BA 8419
at auction in London during Volume II: BA 8460
the 1830s. Some of the pages
auctioned off were even
ripped in half. Not surprisingly,
the original was scattered to
all corners of the globe and is
now incomplete.
Today large sections of

Mozart’s handwritten score
have resurfaced, but
considerable gaps still remain.
30
PIANO SOLO
Pintscher, Matthias Rameau, Jean-Philippe

Mussorgsky, Modest (*1971) (1683-1764)
(1839-1881)
Monumento I Pièces de Clavecin
Pictures at an Exhibition in memoria di Arthur Rimbaud Complete Keyboard Works I-III
A Remembrance of per pianoforte (1991) Urtext / Ed. S. Rampe
Viktor Hartmann BA 7276
Urtext / Ed. C. Flamm Volume I: The Books from
BA 9621 Nacht. Mondschein 1705/6 & 1724 · La Dauphine
Scene for piano from the Les petits marteaux
Dance Theater Gesprungene BA 6581
Glocken (1994)
Volume II: The Books
BA 7291
from 1726/27 & 1741
BA 6582
on a clear day for piano (2004)
BA 8593 Volume III: Les Indes Galantes.
Balet, reduit a quatre grands
Tableau/Miroir for piano. concerts (1735/36)
Threnos in two parts (1992) BA 6583
BA 7273
Ramade-Etchebarne, Anita SPECIAL SET PRICE

(*1953) BA 6584 · Set of all 3 volumes
Kids in Concert
10 Piano Pieces for Children
BA 10602  page 8
The piano cycle Pictures at an
Exhibition, composed in 1874,
is not only Mussorgsky’s most
important contribution to the
piano repertoire, but holds
through its relationship to
Viktor Hartmann’s pictures
and the translation of this idea
into a composition, a unique
place in 19th century piano
repertoire.
 Optimum page turns
 New readings Ravel, Maurice

(1875-1937)
 Extensive information on
the work and performance- Easy Piano Pieces and Dances
related issues BA 6580  page 10
Rameau, Jean-Philippe
 “Bärenreiter have come up (1683-1764) This collection contains the
trumps again, I’m not surprised composer’s easiest piano
to say, and this has as much Pièces de Clavecin pieces, whereby “easiest” is
to do with the simply splendid With the composer’s original a relative term when talking
notes by Christoph Flamm, appended texts unabridged about a virtuosic output such
complete with thoughts and and with several facsimile as Ravel’s. Alongside famous
advice on Performance reproductions (Ger/Fr/Eng). works such as pieces from his
Practice, as with the Ed. E. R. Jacobi Valses nobles et sentimentales,
customary elegance and crisp BA 3800 this selection contains less
scoring itself.“ well-known compositions
(Piano Professional) and will encourage pianists to
make new discoveries.
No distribution rights
for Spain.
PIANO SOLO
Composers A-Z
Ravel, Maurice
(1875-1937)
Pavane pour une infante
défunte pour piano
Urtext / Eds. R. Back,
D. Woodfull-Harris
BA 9632
for France and Spain.
Originally composed by Ravel for

piano solo in 1899 and published
by Demets, this work achieved
immediate success and has been
one of the most beloved works
in the classical canon ever since.
 Extensive preface
(Eng/Fr/Ger) From: Ravel, Pavane pour une infante défunte · BA 9632
Reicha, Antonín
Valses nobles et sentimentales has examined a large body of (1770-1836)
Urtext / Ed. N. Southon sources to present a musical
With notes on performance text with many new readings. 36 Fugues for Piano
and fingering by A. Tharaud The edition contains fingering Ed. V. J. Sýkora
BA 10826 and performance notes by BA 9541
the French pianist Alexandre
No distribution rights Tharaud, one of today’s leading The Czech composer AntonÍn
for France and Spain. interpreters of Ravel’s music. Reicha (also Anton Reicha/
Commentaries by pianists closely Rejcha) was famous as both
Ravel’s Valses nobles et associated with Ravel, such as
sentimentales created a stir an experimental composer
Lucian Garban, Vlado Perlemuter,
when they were anonymously and as a teacher and theorist.
Robert Casadesus and Jacques
premiered in Paris’s Société Février are also included. His 36 Fugues for Piano testify
nationale indépendante in 1911: to this experimentalism; they
many listeners thought they  Detailed trilingual preface can be seen as a type of “Well-
were by Satie, or even Kodály! (Fr/Eng/Ger) and Critical Tempered Piano of the new
For our new Urtext edition of Commentary (Eng) ages”, basing the traditional
this work, the famed Baroque fugue on radically
 Optimum page turns
musicologist Nicolas Southon, new fundaments.
a co-editor of the Œuvres  Includes a glossary
Complètes de Gabriel Fauré, (Fr/Ger/Eng)
32
PIANO SOLO
Rossini, Gioachino Fantasy in C maj D 760 op. 15 as a complete collection by

(1792-1868) “Wanderer Fantasy” Haslinger in Vienna. When the
Urtext / Ed. W. Dürr plan fell through, Schubert
Péchés de Vieillesse With notes on performance offered his Impromptus to
BA 6546 practice by M. Aschauer Schott as pieces which “could
BA 10870 be issued individually or all
Satie, Erik four together”. The name
(1866-1925)  “A wonderful addition to “Impromptus” probably
the catalogue in every respect.” originated with the publisher
Piano Works  page 34–35
(International Piano) Haslinger, and Schubert also
used the title for his collection
Schubert, Franz
Impromptus D 899 (op. 90), published later as op. posth.
(1797-1828)
D 935 (op. post. 142) 142. The lyrical-romantic works
Easy Piano Pieces and Dances Urtext with fingering / are suitable for advanced
BA 5639  page 10 Ed. W. Dürr piano students and have the
Fingering and notes on character of sonata
performance practice movements.
by M. Aschauer
BA 9648 Further Works by Schubert
 page 36
In the autumn of 1827 Schubert
composed eight Impromptus
which were to be published
Fantasies
Fantasy in C min D 2 E /
Fantasy in C maj
“Graz Fantasy” D 605 A /
Fantasy in C maj “Wanderer
Fantasy” D 760 op. 15
Urtext / Eds. W. Dürr and
D. Goldberger
With notes on performance
practice by M. Aschauer
BA 10862
Early evidence of Schubert’s

interest in music of the past
can be found in his Fantasy in
C minor of 1811 with its
echoes of Mozart’s fantasy in
the same key. A recurring
motivic snippet in the virtuosic
Graz Fantasy in C major,
probably composed between
1818 and 1821, already
foreshadows the monumental
Wanderer Fantasy of 1822.
This edition unites Schubert’s
great fantasies for solo piano
in a single volume and
presents the early work Fantasy
in C minor for the first time
in a scholarly-critical Urtext
edition. From: Schubert, Fantasy in C min · BA 10862
Atmospheric Piano Music
Satie, Erik
(1866-1925)
Avant-dernières pensées
Urtext / Ed. J. Rosteck
practice by S. Schleiermacher
BA 10849
for France.
The atmospheric cycle Avant-

dernières Pensées (Next-to-last
Thoughts) of 1915, with its
underlaid words, belongs to
Satie’s ‘story pieces’.
The curious performance
instructions in these three
miniatures, all based on ostinato
figures, amusingly lampoon From: Satie, Ogives · Gymnopédies · BA 10806
the ideal of Romantic
expressiveness. beneath the music and the The Gnossiennes are
spoofs of well-known pieces particularly suitable for piano
of music, most strikingly the teaching because of their easy
Embryons desséchés Funeral March from Chopin’s to medium difficulty level.
Urtext/ Ed. J. Rosteck Piano Sonata in B-flat minor,
With notes on performance make the work a barrel of Suggestions for performance
practice by S. Schleiermacher musical fun. are given by the Satie specialist
BA 10811 Steffen Schleiermacher.
Gnossiennes In addition a detailed foreword
Urtext / Ed. J. Rosteck by the distinguished
for France.
With notes on performance musicologist Jens Rosteck
practice by S. Schleiermacher provides valuable information
In the summer of 1913 Satie on the background to the
BA 10807
once more poked fun at compositions.
himself and the world of music No distribution rights
with a set of parodic piano for France.
pieces on various marine
animals, giving it the This Bärenreiter Urtext edition
grotesque title Embryons offers new variant readings Poster Erik Satie
desséchés (Desiccated and presents Gnossienne Format: DIN A1 long
Embryos). The notation No. 7 in its authentic form for SPA 50_68 free of charge
without barlines, the ‘stories’ the first time.
34
PIANO SOLO
Satie's Works in Urtext Editions
Ogives
Gymnopédies
Urtext / Ed. J. Rosteck
practice by S. Schleiermacher
BA 10806
Satie’s Ogives and

Gymnopédies are milestones in
the history of modern music.
The four metrically free

Ogives (meaning pointed
arches) reflect the influence of
the French New-Gothic or
Neo-Gregorian movement of
architecture and music with
their clear lines and echo
Le fils des étoiles
effects.
Urtext / Ed. S. Schleiermacher
With notes on interpretation Ȅ
The three Gymnopédies ȱ
ȱ¡ȱ
BA 10814
ȱȱ
ȱ
Ȅ
proceed with a grave, chordal ȃ
ȃȱ ȱ
ȱȱ
ȱ
ȱȱ
ȱ
£
Ȅ
ȱ
No distribution rights momentum, and Satie’s ȃȱ§
Ĵȱ
for France. radically sparse writing makes

ironic reference to the dance of ȃȱȂȱȱȱȱ
ȱȱȱȱ
Satie’s progressive incidental young warriors in ancient ȃȱȱȱȱ
¢ǰȱȱȱȱ
ȱȄ
music of 1891-92, though Sparta during gymnopaedia ȃȱȱȱȱ

£ȱ ûȱȱȱ
Ȅ
explicitly aimed against French rituals.

Ȅ
Wagnérisme, is not intended as

a parody. Commissioned by the
Rosicrucian master and ardent ȃȱ
ȱȱ
Ȅ
Wagnerian Joséphin Péladan,  Urtext editions based on ȱȄ
© Bibliothèque nationale de France

ȃȱȱ £Ȅ
ȱ£ȱ£
ȃȱȱ
this plain, purely instrumental all the sources and latest
music proceeds independently research findings
ce
from the dramatic action.
 Easy to moderately difficult
For the first time, this pieces
pioneering Urtext edition on Piano Works by Satie
Satie‘s incidental music  Ideal for teaching purposes
evaluates a previously neglected ȃȱ
·ȱǻȱȂ
ǼȄȱ
 Optimum page-turns ȃ¢ȱ
£ȱǻȱȱ
autograph on the Préludes. ȃȱ
£ȱǻȱ
ǼȄ
ǼȄ
In addition, the three popular  Translations of all of Satie’s

Préludes are presented in French texts (Ger/Eng)
!"
#$%&

both their versions. Notes on

interpretation and a detailed  Notes on performance

Foreword introduce this practice (Ger/Eng)

exciting, moderately difficult

work, which formed the basis  Informative Forewords

of Satie’s early reputation as a (Ger/Eng) and Critical

Commentaries (Eng)

composer and which he

considered one of his most

important compositions.


 Moderate level of difficulty BA 6574  page 10

 Includes a glossary

(Fr/Ger/Eng)

 Notes on interpretation

Satie picture: By Sonia y natalia

(Ger/Eng) (Own work) [CC BY-SA 3.0

(http://creativecommons.org/

 Detailed Foreword (Ger/Eng) licenses/by-sa/3.0)],

and Critical Commentary (Eng) via Wikimedia Commons

PIANO SOLO
Composers A-Z
Schubert, Franz
(1797-1828)
Late Piano Pieces
Ed. W. Dürr
by M. Aschauer
BA 9634
 Ungarische Melodie D 817 /
Allegretto in C min D 915 /
Drei Klavierstücke D 946
Moments Musicaux
D 780 (op. 94)
Ed. W. Dürr
by M. Aschauer From: Schubert, Late Piano Pieces · BA 9634
BA 9647
In 1823 Schubert published his aspects of performance
extremely popular Air russe, practice of Schubert’s time as
which later became the third well as performance on the
piece of the Moments Musicaux, modern concert grand piano
and during the following year into consideration. Detailed
he published the chordal forewords, suggestions for
Plaintes d’un Troubadour, later performance and notes on
the sixth in the collection. The the evaluation of the primary
multi-faceted, atmospheric sources complete the editions.
pieces are particularly suitable
for piano teaching because of Piano Sonatas I
their charming variety as well Early Sonatas
as their moderate technical Urtext / Ed. W. Litschauer
demands. BA 5642
These scholarly-critical Urtext Sonata in G maj - D 894 op. 78
editions present the musical Urtext / Ed. W. Litschauer
text of the New Schubert BA 5630
Edition in a new layout with
optimum page-turns. The
fingering takes essential
36
PIANO SOLO
Schubert, Franz
(1797-1828) With his works of the 1920s –
an original blend of traditional
Sonata in C min - D 958 genres, rhythms inspired by
Urtext / Ed. W. Litschauer jazz and dance music and
With notes on performance judiciously expanded tonality
practice by M. Aschauer – the German-Czech composer
BA 10869 Erwin Schulhoff captured the
tenor of the times. This edition
presents the piano sonatas
Sonata in A maj D 959 which originated between
Urtext / Ed. W. Litschauer 1924 and 1927.
practice by M. Aschauer Michael Kube has edited this
BA 10861 first ever scholarly-critical
edition on the basis of the
prints published in Schulhoff ’s
Sonata in B-flat maj D 960 lifetime and compared these
Urtext / Ed. W. Litschauer Schulhoff, Erwin with the surviving handwritten
With notes on performance (1894-1942) sources. Not only have errors
practice by M. Aschauer been corrected but peculiarities
BA 10860 Sonatas Nos. 1-3 for piano of Schulhoff ’s notation have
Urtext / Ed. M. Kube also been reconstructed.
BA 9560
 First Urtext edition
 Scholarly-critical editions
based on the New Schubert
Edition
 Newly engraved editions
 With practical page turns
 With notes on period

(e.g. pedalling, Schubert's
distinctive manner of
writing accents) (Ger/Eng)
 Schubert’s drafts to all three

sonatas available on the
Bärenreiter website
www.baerenreiter.com
 Critical Commentaries (Eng)
Schulhoff, Erwin
(1894-1942)
Jazz-inspired Works
Urtext / Ed. M. Kube
BA 9559  page 9
Schumann, Clara Schumann, Robert

(1819-1896) (1810-1856)
Romantic Piano Music Easy Piano Pieces and Dances

Ed. F. Goebels BA 6567  page 10
BA 6550 Volume 1
BA 6556 Volume 2
Schumann’s Popular Piano Cycles
Schumann, Robert
(1810-1856)
Album for the Young

43 Piano Pieces op. 68 From: Schumann, Album for the Young · BA 9641
Ed. H. M. Stüwe
Fingering and notes on Forest Scenes op. 82 Scenes from Childhood op. 15
performance practice Urtext with fingering/ Urtext with fingering /
by R. Schirmer Ed. H. M. Stüwe Ed. H. M. Stüwe
BA 9641 Fingering and suggestions Fingering and suggestions for
for performance performance by R. Schirmer
In 1848, after finishing an by R. Schirmer BA 9639
album of little piano pieces for BA 9640
his daughter Marie, Schumann In the spring of 1838 Schumann
devised the plan of compiling Schumann was inspired by composed “30 short, sweet
a ‘children’s album’. Since then illustrations for the creation things”, as he called them in
the resultant collection of of his intimate piano cycle a letter to his fiancée Clara
43 pieces has enjoyed “Forest Scenes”. The work Wieck. From these piano
unparalleled success. dates from the years 1848/49, miniatures he chose twelve
a time when the composer pieces. At the beginning of the
In addition to the famous was at his most creative but following year, now expanded
‘Advice to Young Musicians’ also one which was marked with a thirteenth piece, they
(in German, English and a by revolutionary unrest and were published as “Scenes
French translation by Liszt), political uncertainty. from Childhood” by Breitkopf
other pieces related to the & Härtel in Leipzig. The
“Album for the Young” but The last piece to be written collection centered on
left unpublished during was the wistful-filigree Vogel Träumerei, which is the seventh
Schumann’s lifetime can be als Prophet (no. 7), probably the and the most famous piece in
found in the appendix. For the best-known piece in the cycle. the collection. The work was
first time this edition also completely misjudged by the
includes Clara Schumann’s Vogel als Prophet and Herberge critic Ludwig Rellstab but was
original pedal markings. have been printed using a enthusiastically received by
Clara’s fingering served Ragna fold-out page so that no Liszt. He wrote to Schumann
Schirmer as an important page-turns are necessary. in June 1839 that he was
point of departure for her own frequently playing “Scenes
thoughts on fingering. The pieces, of moderate from Childhood” to his then
technical difficulty, are three-and-a-half year old
 Many additional pieces and enchanting in their song-like daughter Blandine with
‘Advice to Young Musicians’ poetry, and are a jewel of enthusiasm.
in the appendix domestic music-making from
 Original pedal markings by
the Romantic Period.  “This edition should be in
every teacher’s library.”
Clara Schumann and (Music Teacher magazine)
fingering by Ragna Schirmer
38
Skrjabin’s Complete Piano Sonatas
Skrjabin, Alexander
(1871-1915)
Complete Piano Sonatas

Volume 1: Sonatas Nos. 1, 2, 3

and ealier works and fragments
With a Foreword by
M.-A. Hamelin
BA 9616
No other composer after

Beethoven reshaped and
reinvigorated the sonata
tradition so radically as
Skrjabin. The composer did
not simply continue it, but
surpassed it, which is evident
even in these first sonatas.
The works show a developing
feeling for structural coherence
and cyclical unity and are full From: Skrjabin, Complete Piano Sonatas, Vol. 2 · BA 9617
of expression and poeticism.
Volume 2: Sonatas Nos. 4 and 5  “… these remarkable and Volume 3: Sonatas Nos. 6, 7, 8
With a Foreword by pioneering works, now nearly a With a Foreword by
M.-A. Hamelin century old, receive a splendid M.-A. Hamelin
BA 9617 editorial makeover, …” BA 9618
(Music Teacher) In preparation
Particular milestones in
Skrjabin’s output are his Sonatas  “Flamm sensibly sifts through Volume 4: Sonatas Nos. 9, 10
Nos. 4 and 5 of 1903 and 1907, the various source options With a Foreword by
in which we hear forms and available to produce an edition M.-A. Hamelin
harmonies not heard previously. of both sonatas [opp. 4 & 5] BA 9619
These works are often given the that is elegant and practical.
name “Poème” Sonatas, alluding … A landmark issue.” Volume IV of Skrjabin’s
to Skrjabin’s daring orchestral (International Piano) Complete Piano Sonatas unites
works Le Divin Poème and Sonata No. 9 op. 68 (nicknamed
Le Poème de l’exstase.  “This edition [BA 9617] is a “Black Mass” – but not by
work of art in itself, with many Skrjabin) and Sonata No. 10
For this edition of Skrjabin’s hidden extras, including the op. 70. These two works
Sonata No. 5 the editor has entire text of Scriabin’s ‘poem originated virtually at the
drawn on sources which were of ecstasy’, reproduced in three same time, in 1911-13 and
until recently regarded as lost languages, as well as detailed 1912-13, respectively.
or could only be consulted with background notes …”
great difficulty. (Piano Professional)
PIANO SOLO
Polkas
Composers A-Z Sweelinck, Jan Pieterszoon
Ed. J. Novotný (1562-1621)
Smetana, Bedřich BA 9506
(1824-1884) Complete Organ
Rêves and Keyboard Works
Album Leaves Dreams Urtext / Ed. S. Rampe
Urtext with fingering / Urtext with fingering /
Ed. J. Novotný Ed. J. Gabrielová Volume I.1: Toccatas (Part 1)
BA 9525 BA 9529 BA 8473
The six pieces Rêves (Dreams) Volume I.2: Toccatas (Part 2)

Czech Dances BA 8474
Urtext with fingering / reflect two forms: the
Ed. J. Novotný character piece and the Volume II.1: Polyphonic Works
BA 9507 virtuoso piece. Importantly, (Part 1): Fantasias, Echo
Smetana was also working Fantasias, Ricercari, Capriccio
Early Piano Works on the first symphonic BA 8475
Urtext with fingering / tone-poem of Má vlast (My
Ed. J. Novotný country) while composing Volume II.2: Polyphonic Works
BA 9527 these six compositions. (Part 2): Fantasias, Echo
NEW 2018 Fantasias, Ricercari, Capriccio
 With historical fingering by
Macbeth and the Witches. BA 8476
the Smetana contemporary
Sketch to a scene from Jindřich Kàan von Albest
Shakespeare Volume III.1:
Urtext / Ed. J. Gabrielová Chorale Settings (Part 1)
Stockhausen, Karlheinz BA 8485
BA 11537 (*1928)
In preparation Volume III.2:
Tierkreis: 11 Schütze – Chorale Settings (Part 2)
Macbeth a čarodějnice (Macbeth Sagittarius for melody and/or BA 8486
and the witches) is one of accord instrument (1975).
Bedřich Smetana’s virtuosic Series “Neue Hausmusik” Volume IV.1:
‘Lisztian compositions’. Based BA 8045 Score Variations on Song and Dance
on motifs from the opening Tunes
scene of Act IV of Shakespeare’s Suk, Josef BA 8487
tragedy, it originated in 1859 as (1874-1935)
a piano sketch and was probably Volume IV.2:
meant to be orchestrated. It Things Lived and Dreamt Variations on Song and Dance
falls into Smetana’s Swedish op. 30 Tunes
period, which gave rise to three Urtext / Ed. J. Gabrielová BA 8494
symphonic poems, including one BA 9561
on Shakespeare’s Richard III.
The year 1859 also witnessed SPECIAL SET PRICE
The cycle Životem a snem
the death of Smetana’s wife (Things Lived and Dreamt) BA 8500 · Set of all 8 volumes
Kateřina. by Josef Suk is his magnum
opus for the piano and has The central significance of
Later the work took hold as a been called the “diary of an Sweelinck to baroque
piano piece and was orchestrated artist”. Although Suk’s musical keyboard music can
by Jarmil Burghauser. It never language never exceeds the hardly be overestimated.
appeared in the scholarly-critical bounds of tonality, his wealth Siegbert Rampe’s scholarly
edition of Smetana’s piano of resources, the flexible har- performance edition is the
music. The first Urtext edition mony, chords of stacked thirds first complete edition of
has now been undertaken and meticulous performance Sweelinck’s keyboard
by Jarmila Gabrielová. instructions were new to the music to distinguish
Bohemia of his day. between “works of certain
On the Seashore / authenticity” and “works of
Concert Etude in C maj / The autograph contains many doubtful authenticity.” This
Fantasia on Czech Folksongs cuts, overwritings and barely edition stands at the forefront
Urtext with fingering / decipherable passages, yet it is of scholarship.
Ed. J. Novotný carefully prepared and largely
BA 9519 identical to the first edition  With notes on ornamentation
of 1909. This first scholarly-
critical edition takes all source  “Highly recommended.”
variants into account for the (The American Organist)
first time.
40
PIANO SOLO
Tchaikovsky, Peter Telemann, Georg Philipp Trojahn’s Preludes lead on

(1840-1893) (1681-1767) from the preludes of Debussy,
continuing the tradition of
Easy Piano Pieces and Dances Drei Dutzend Klavierfantasien prelude cycles in an original
BA 6576  page 10 (Three Dozen Fantasias for Piano) and impressive way. The works
BA 733 are of moderate difficulty,
 “An absolute treasure with only a few demanding
trove of delights – and not just Trojahn, Manfred passages. They are suitable for
for younger pianists.” (*1949) many different occasions and
(International Piano) can be performed either
Douze Préludes pour Piano
Twelve Preludes for Piano individually or as a cycle.
Book 1: Nos. 1-6 (2006-07)
BA 9329
Vierne’s Complete Piano Works

in Bärenreiter Urtext Editions
Vierne, Louis
From: Vierne, Complete Piano Works, Vol. III · BA 9613
(1870-1937)
Complete Piano Works volume, which include some Volume III

Urtext / Ed. H. Schauerte- works published for the first The Last Works (1916–1922)
Maubouet with O. Gardon time, date from Vierne’s early Ed. H. Schauerte-Maubouet
and B. de Leersnyder years and are in the tradition BA 9613
of the Romantic character
Volume I piece. In both their harmonic The third volume of the
The Early Works (1893–1912) language and their elegant chronologically arranged
Ed. B. de Leersnyder sonority they reveal Vierne’s edition of Vierne’s works
Deux pièces op. 7 / individual musical language. includes Silhouettes d’enfants
Suite bourguignonne op. 17 op. 43 composed in the tradition
Also includes two Airs de  With first publications of of 19th century children’s pieces,
danse (first editions) previously unknown and the major work of his later
BA 9611 compositions of medium creative period, the four-
technical difficulty movement cycle Solitude op. 44.
Vierne was a celebrated It also offers two pieces which
organist but throughout his Volume II only survive in manuscript
life he was also a keen pianist The First World War (1914–1916) form, published here for the
and composer of piano music. Trois Nocturnes op. 35 / first time.
He had a particular feeling for Douze Préludes op. 36
the instrument’s tonal finesse Ed. O. Gardon No distribution rights
and riches. The pieces in this BA 9612 for France and Spain.
PIANO SOLO / PIANO DUET
Composers A-Z Piano Duet –

Collections
Weckmann, Matthias
(1621-1674)
Complete Free Organ and

Keyboard Works Hradecký, Emil
Urtext / Ed. S. Rampe (*1953)
BA 8189 Bärenreiter Piano Album
Four-Hand Jazz Pieces for Twenty Fingers
This collection includes For piano duet. In score format. for piano duet
all known free organ and A text booklet describes the (Cz/Ger/Eng)
keyboard works by the famous pieces and offers performance H 7975
Hamburg organist Matthias suggestions (Ger/Eng/Fr)
Weckmann. The unusual Ed. M. Töpel This edition offers jazz
diversity of Weckmann’s style BA 6559 arrangements of popular
reveals him to be one of the dances (waltz, ragtime,
most important clavier and cha-cha-cha, samba, tango,
organ composers of the 17 th etc.) for piano duet. One of
century; his significance has the pieces also includes the
been compared by Mattheson opportunity for improvisation.
to that of Buxtehude. The
editor was able to compile a
complete first edition of the
so-called “Hintze Manuscript”
(a collection of 28 clavier
pieces), together with an
extensive preface, a critical
report and a list of sources.
Zipoli, Domenico
(1688-1726)
Organ and Keyboard Works

Edition after the Urtext Klavier-Festival Ruhr
Ed. L. F. Tagliavini Bärenreiter Piano Album
Volume II: Harpsichord Works Contemporary music for two
SM 2204 and four hands
Ed. T. Bleek, M. Töpel
 Suite in B min / Suite in G With fingering by P. L. Aimard,
min / Suite in C maj / Partita T. Stefanovich
in C maj / Suite in A min / BA 9659  page 6
Partita in A min
In the versions for piano duet,
one part is kept sufficiently
easy for the less experienced
pianist to play.
42
PIANO DUET
Distler, Hugo
Piano Duet / (1908-1942) Dvořák, Antonín
Two Pianos – (1841-1904)
Konzertstück
Composers A-Z for two pianos (1940) based on Slavonic Dances /
the string quartet op. 20 no. 1. Slovanské tance
BA 1807 for piano duet
Bach, Johann Sebastian Ed. J. Burghauser
(1685-1750) Newly engraved with Primo
and Secondo parts printed on
Concerto a due Cembali senza facing pages
ripieno BWV 1061a
Urtext / Ed. K. Heller, 1st Series op. 46
H. J. Schulze BA 9547
Two scores are required for
performance 2nd Series op. 72
BA 5245 BA 9548
It was the Slavonic Dances
Like the Italian Concerto for for piano duet op. 46 which
solo harpsichord (BWV 971), brought Dvořák unexpected
the Concerto a due cembali is international fame. An
Bach’s only concerto expressly unerring business instinct
written for two unaccompanied led Fritz Simrock, at the
harpsichords. beginning of 1878, to ask the
Czech composer for some
Brahms, Johannes works for piano duet into
(1833-1897) Dvořák, Antonín
which Dvořák incorporated
(1841-1904)
musical themes from where
Serenade No. 1 in D maj op. 11 he grew up. Following in the
Urtext / Ed. C. Köhn From the Bohemian Forest /
footsteps of Brahms’
for piano duet Ze Šumavy op. 68
Hungarian Dances, Dvořák
BA 6570 for piano duet
refrained from a literal
Ed. A. Čubr
portrayal of individual kinds
BA 9565
of dance. As a result, he
created unique masterpieces
From the Bohemian Forest, a
of European music for
set of six character pieces for
domestic use and concert
piano duet, was written at the
performance.
turn of the year 1883-84 at the
instigation of Dvořák’s publisher
Fritz Simrock and appeared Mendelssohn Bartholdy, Felix
in print in the spring of 1884. (1809-1847)
After the Slavonic Dances and
Legends, this was already his Seven Songs without Words
third cycle of piano duets to op. 62 nos. 1-6 and op. 67 no. 1
be inspired by much-loved in Mendelssohn’s own
locations. arrangement for piano duet.
First edition. Ed. R. Langley
 Popular piano miniatures
BA 8101
which can be played Mozart, Wolfgang Amadeus
individually and are ideal as (1756-1791)
encore pieces
Complete Works for two
Souvenir de la Russie  New Foreword by Ivana Pianos
Six fantasies for piano duet. Rentsch and Hans-Joachim Urtext with fingering /
In score format Hinrichsen (Ger/Cz/Eng) Ed. E. F. Schmid
Ed. M. Töpel (K. 426 and 448 and
BA 6554  Well-presented division of fragments) and F. Ferguson/
Primo and Secondo parts W. Rehm (Larghetto and
printed on facing pages Allegro in E-flat maj, K.6 deest),
based on the edition by
Legends / Legendy op. 59 G. Croll. Preface by
for piano duet M. H. Schmid. Fingering by
Revised by F. Bartoš, A. Čubr H. P. and V. Stenzl
H 1801 BA 9161
PIANO SOLO
Ochs, Siegfried Works for Piano Duet III

Piano Duet / Two Pianos – (1858-1929) Urtext / Eds. W. Litschauer
Composers A-Z (Nos. 2-5), W. Aderhold (No. 1)
“s‘ kommt ein Vogel geflogen” With notes on performance
Mozart, Wolfgang Amadeus for piano duet practice by M. Aschauer,
(1756-1791) SM 960 in score format
BA 9645
Fantasia in G min and Fugue Theme of a German folksong
in G maj K. Anh. 32 and 45 with variations in the styles This edition includes
Sonata Movement (Grave of Bach, Haydn, Mozart, Schubert’s late works,
and Presto) in B-flat maj Beethoven, Chopin, J. Strauss, composed between 1826 and
K. Anh. 42 for two pianos. Mendelssohn, Brahms, 1828 which are amongst the
Two completions Schumann, Verdi and Wagner. most important works in the
Ed. M. Töpel piano duet repertoire.
BA 9638 Satie, Erik
(1866-1925)  Variations on a Theme
There are many fragments in from L. J. Ferdinand Hérold's
Mozart’s large compositional 3 Morceaux en forme de Poire opera “Marie” op. 82,1 (D 908) /
output which can ideally be avec une Manière Fantasy in F minor op. 103
used as a basis for a completion. de Commencement, (D 940) / Allegro in A minor
In the case of these two une Prolongation op. post. 144 (D 947) / Rondo in
completions, the editor took du même & Un En Plus, A major op. post. 107 (D 951) /
thematically suitable suivi d’une Redite Fugue in E minor op. post. 152
fragments from Mozart’s for piano duet (D 952)
piano solo repertoire and Urtext / Ed. J. Rosteck
arranged them for two pianos. With notes on performance
In this way, the completions practice by S. Schleiermacher,
Smetana, Bedřich
are based almost solely on in score format
(1824-1884)
authentic material. BA 10809
The Moldau / Vltava
In 1903, Satie composed his
Works for Piano Duet Version for piano duet by the
famous cycle for piano duet
Original works for piano duet composer
with a provocative and
Appendix: 1. Fragments K. 497 a Urtext / Ed. H. Macdonald
ambiguous title: in French,
(Fr 1787i) and K. 500a (Fr 1791a) With an introduction by
poire means ‘pear’ but also
completed by M. Töpel O. Mojžíšová
‘dimwit’. It is a detached and
2. Miscellaneous Works for BA 9549
ironic commentary on the
Organ, Mechanical Organ, constraints of musical form.
and Musical Clock transcribed Vltava (The Moldau) is
for piano duet Smetana’s most famous and
 First scholarly-critical
Urtext / Ed. W. Rehm frequently performed tone
Urtext edition
Appendix ed. by M. Töpel poem. It was written between
BA 9179 20 November and 8 December
 Of an easy to moderate level
1874, but only in 1879-1880
of difficulty
This publication also contains with the completion of the
an appendix with the entire cycle Má vlast, did the
 Includes translations of all
fragments K. 497 a (Fr 1787i) full score and Smetana’s ver-
expression and tempo
and K. 500a (Fr 1791a) which are sion for piano duet appear in
markings (Fr/Ger/Eng)
completed by Michael Töpel, print.
as well as individual pieces for Schubert, Franz
 Urtext edition with Primo
organ, mechanical organ and (1797-1828)
musical clock in transcriptions and Secondo parts printed
for piano duet. on facing pages
Two Overtures “Italian Style”
in D maj - D 592 and in C maj -
Informative forewords to the D 597 for piano duet
main part and the appendix Weber, Carl Maria von
Urtext / Ed. W. Litschauer
together with explanatory (1786-1826)
BA 5627
notes on the evaluation of the
sources as well as Eingänge Easy Pieces for Piano Duet
and fermata embellishments op. 10
by M. Töpel complete this Fingering by D. Hanemann
volume. Ed. J. Kindermann
BA 6534
44
PIANO CONCERTOS
Piano Concertos not apply a typical piano trio

in arrangements for 2 pianos setting in contrast to the
orchestra, but varies his
(solo piano / treatment of the solo parts,
orchestral reduction) allowing each instrument to
play alone with the orchestra
(particularly the cello), using
Bach, Johann Sebastian two solo instruments together
(1685-1750) in ever new combinations, and
finally bringing together all
Eight Concertos three instruments with the
for harpsichord and strings orchestra. Beethoven weaves a
Urtext / Ed. W. Breig complex web – the orchestral,
TP 410 Study score piano, violin and cello voices
interplaying and entwining –
and he produces a true
masterpiece.
(1770-1827) Bärenreiter’s new Urtext
edition is a completely fresh
Concerto in C maj revision of this warm and
for Pianoforte, Violin, beautiful showpiece. Errors
Violoncello and Orchestra abounded in all previous
“Triple Concerto” op. 56 editions, but with the
Urtext / Ed. J. Del Mar assistance of three newly-
BA 9027-90 ° discovered sources, editor
Piano reduction with three Jonathan Del Mar has cleaned
parts up the text, corrected wrong
BA 9027-40 notes and rhythms and (for the
Critical Commentary first time since 1807) presents
the work in a way that a
In Beethoven’s Triple Concerto, musician of Beethoven’s day
Piano reductions a piano trio provides the might have recognized, with all
soloists – a first in the history of necessary information for
Concerto I in D min BWV 1052 music. Beethoven’s treatment directing the piece included in
BA 5224-90 ° of the trio is pioneering: he does the solo piano part.
Concerto II in E maj BWV 1053
BA 5225-90 °
Concerto III in D maj BWV 1054

BA 5226-90 °
Concerto IV in A maj
BWV 1055
BA 5227-90 °
Concerto V in F min BWV 1056

BA 5228-90 °
Concerto VI in F maj
BWV 1057 for harpsichord,
two recorders and strings
BA 5229-90 °
Concerto in D min BWV 1052a

arranged by C. P. E. Bach
BA 5231-90 °
Concerto in G min BWV 1058

BA 5230-90 ° From: Beethoven, Concerto in C maj · BA 9027-90 (Solo Piano Part)
PIANO CONCERTOS

(1770-1827)
Concerto No. 1 in C maj

for Pianoforte and Orchestra,
op. 15
BA 9021-90 ° Piano reduction
BA 9021-40
Critical Commentary (Eng)
TP 921 Study score
Del Mar has found no less than

17 corrections in Beethoven’s
autograph which he made
after the Piano Concerto
No. 1 in C major op. 15 was
published. These have been
brought to light in this new
Bärenreiter edition.
 Includes Beethoven’s From: Beethoven, Concerto No. 2 in B-flat maj · BA 9022-90 (Solo Piano Part)
cadenzas
Concerto No. 2 in B-flat maj Concerto No. 3 in C min printed edition of the solo part
for Pianoforte and Orchestra, for Pianoforte and Orchestra, (1804) with great diligence.
op. 19 op. 37 Plate corrections bear witness
Urtext / Ed. J. Del Mar Urtext / Ed. J. Del Mar to the care with which
BA 9022-90 ° Piano reduction BA 9023-90 ° Piano reduction Beethoven placed slurs and
BA 9022-40 BA 9023-40 pedal markings in order to be
Critical Commentary (Eng) Critical Commentary (Eng) consistent and unambiguous.
TP 922 Study score TP 923 Study score
By means of a thorough
Beethoven’s Piano Concerto examination of the sources
No. 3 is the only concerto where this Urtext edition presents
no authentic manuscript exists many corrections in terms of
for the solo part. However, articulation, dynamics and notes.
Beethoven oversaw the first
46
PIANO CONCERTOS
Piano Concertos
The Beethoven Distler, Hugo

(1908-1942)
Piano Concertos Konzertstück op. posth.

for Piano and Orchestra (1937).
Piano reduction by the
composer
 Piano reductions with separate solo piano parts BA 2783-90 
Dvořák, Antonín
The piano reductions to Beethoven's piano concertos appear (1841-1904)
in a new format: As customary in the 19th century there is a Concerto in G min for Piano
separate solo piano part containing tutti passages and cues. and Orchestra op. 33 (B 63)
Urtext / Ed. R. van Steijn
This affords the soloist sensible page turns and offers the BA 10420 Score
possibility to lead the ensemble from the piano. The piano BA 10420-90  Piano reduction
In preparation
reduction includes the orchestral reduction as well as the
solo piano part above it in small print. Dvořák’s Piano Concerto in G
minor, op. 33 (B 63), acquired a
reputation as a thankless,
pianistically difficult and
Concerto in D maj ineffective work and has
for Pianoforte and Orchestra therefore led a wallflower
after the Violin Concerto op. 61 existence in the shadow of his
Urtext / Ed. J. Del Mar Violin Concerto and Cello
Piano reduction with an Urtext Concerto. Today, it is considered
solo piano part and an inadvisable to ‘remedy’ Dvořák’s
additional piano part with music in any way, and we prefer
fingering by Y. Murikami to return unconditionally to the
BA 9013-90 ° authentic text, avoiding all
BA 9019-40 adjustments and ‘improvements’.
Critical Commentary (Eng) This new edition of the piece,
composed between August and
Del Mar has worked with all September 1876, proceeds from
known sources to bring the autograph score and the
together a groundbreaking complete printed edition in full
scholarly-critical edition which score, orchestral parts, solo part
finally provides clarity and piano reduction, issued by
Concerto No. 4 in G maj regarding Beethoven’s solo and Hainauer of Breslau in 1883. It
for Pianoforte and Orchestra, tutti markings, as well as his also includes an edition of the
op. 58 articulation and dynamics in composer’s original piano
Urtext / Ed. J. Del Mar the solo piano part. Of great reduction, with a second
BA 9024-90 ° Piano reduction importance and interest are piano taking the place of the
BA 9024-40 Beethoven’s original cadenzas orchestra.
Critical Commentary (Eng) as no original cadenzas for the
TP 924 Study score earlier version of op. 61 for
violin and orchestra exist.
Concerto No. 5 in E-flat maj
for Pianoforte and Orchestra,
op. 73 – “Emperor”
BA 9025-90 ° Piano reduction
BA 9025-40
Critical Commentary (Eng) ° = Performance material
TP 925 Study score available on sale
 = Performance material
available on hire
PIANO CONCERTOS

Piano Concertos (1756-1791)
Piano Concertos
Janáček, Leoš
(1854-1928) - K. 175 (No. 5), Concert
Rondo in D maj K. 382
Capriccio for Piano Left Hand Urtext / Ed. M. Flothuis
and Wind Ensemble Piano reduction by M. Töpel
Urtext / Eds. L. Faltus / BA 5315-90 °
J. Procházková
BA 9535 Score with parts - K. 238 (No. 6) in B-flat maj
Urtext / Ed. M. Flothuis
One of Leos Janáček’s last Piano reduction by
chamber music works, the D. Woodfull-Harris
Capriccio, was written in the BA 5316-90 °
autumn of 1926 at the Mendelssohn Bartholdy, Felix
suggestion of the pianist (1809-1847) - K. 242 (No. 7) in F maj
Otakar Hollmann, an invalid “Lodron Concerto” for three
from the First World War. Like Concerto in E min or two pianos and orchestra.
his contemporary Paul for Piano and Orchestra Edition for 2 soloists and
Wittgenstein, Hollmann urged Reconstructed and completed accompaniment
composers to write something by R. Larry Todd Urtext / Ed. M. Flothuis
for piano left hand; he BA 9081 Piano reduction by
succeeded in persuading Score available for sale. D. Woodfull-Harris
Bohuslav Martinů, Erwin Solo piano/orchestral BA 5389-90 °
Schulhoff and Janáček to do reduction available on hire 3 copies needed for
this. Janáček did not want, performance
as he put it, to compose a The Mendelssohn specialist
“dance for one leg”, but finally R. Larry Todd has taken the - K. 246 (No. 8) in C maj
wrote a four-movement work short unfinished score of this “Lützow Concerto”
with associations to military piano concerto and completed Urtext / Ed. C. Wolff
music, scored for piano, flute the composer’s specified Piano reduction by M. Töpel
(piccolo), two trumpets, three orchestration of the existing BA 5388-90 °
trombones (preferably valve first two movements; the work
trombones because of the fast is believed to have it’s origins - K. 271 (No. 9) in E-flat maj
passages) and a tenor tuba. in the period directly before “Jeunehomme Concerto”
The composer allowed the Mendelssohn’s great E minor Urtext / Ed. C. Wolff
French horn to substitute the Violin Concerto. To create a Piano reduction by M. Töpel
tuba. 3rd movement the editor has BA 4790-90 °
used the scherzo-like final TP 242 Study score
 Urtext based on the Critical movement of the E minor
Complete Edition of the Violin Concerto. Audiences - K. 365 (No. 10) in E-flat maj
Works of Leoš Janáček now have the chance to hear for two pianos and orchestra
this “sister” work to the Urtext / Ed. C. Wolff
 Includes an additional part famous Violin Concerto Piano reduction by M. Töpel
for French horn combined with the much loved BA 5390-90 °
finale of opus 64. 3 copies needed for
performance
 First and second
Martinů, Bohuslav movements reconstructed - K. 413 (No. 11) in F maj
(1890-1959) from Mendelssohn’s short Urtext / Ed. C. Wolff
score Piano reduction by M. Töpel
Incantation  Third movement added BA 4874-90 °
Piano Concerto No. 4 (1955/56) TP 245 Study Score
Piano reduction by K. Solc  In-depth preface (Ger/Eng)
BA 4318-90  on the history and genesis - K. 414 (No. 12) in A maj
of the work Urtext / Ed. C. Wolff
Piano reduction by E. R. Barthel
 With facsimile pages BA 4876-90 °
TP 244 Study score
 = Performance material
available on hire
48
PIANO CONCERTOS
- K. 488 (No. 23) in A maj

Urtext / Ed. H. Beck
Piano reduction by H. Beck
BA 4740-90 °
TP 62 Study score
- K. 491 (No. 24) in C min

BA 4741-90 °
TP 63 Study score
- K. 503 (No. 25) in C maj

BA 4742-90 °
TP 64 Study score
- K. 537 (No. 26) in D maj

“Coronation Concerto”
Urtext / Ed. W. Rehm
Piano reduction by M. Töpel
BA 5318-90 °
TP 90 Study score
- K. 595 (No. 27) in B-flat maj

From: Mozart, Piano Concerto K. 488 · BA 4740-90 Urtext / Ed. W. Rehm
Piano reduction by J. Faber
Mozart, Wolfgang Amadeus - K. 456 (No. 18) in B-flat maj BA 4872-90 °
(1756-1791) Urtext / Ed. E. and TP 91 Study score
P. Badura-Skoda
(Piano Concertos) Piano reduction by M. Töpel Cadenzas and Lead-Ins to
BA 5385-90 ° the Piano Concertos in
- K. 415 (No. 13) in C maj one volume
Urtext / Ed. C. Wolff Urtext / Ed. F. Ferguson,
- K. 459 (No. 19) in F maj
Piano reduction by W. Rehm
Urtext / Ed. E. and
D. Woodfull-Harris BA 5337
P. Badura-Skoda
BA 4878-90 °
Piano reduction by
TP 246 Study score In the past, cadenzas and
D. Woodfull-Harris
BA 5386-90 ° lead-ins were usually only
- K. 449 (No. 14) in E-flat maj published with their respective
Urtext / Ed. M. Flothuis concertos. This volume fills a
Piano reduction by M. Töpel - K. 466 (No. 20) in D min
Urtext / Ed. H. Engel, remarkable gap by publishing,
BA 5381-90 ° for the first time in one
TP 247 Study score H. Heussner
Piano reduction by J. Faber edition, all of this music based
- K. 450 (No. 15) in B-flat maj BA 4873-90 ° on the most recent research
Urtext / Ed. M. Flothuis TP 147 Study score evidence.
Piano reduction by W. Giefer
BA 5382-90 ° - K. 467 (No. 21) in C maj Badura-Skoda, Paul
TP 248 Study score Urtext/ Ed. H. Engel, (*1927)
H. Heussner
- K. 451 (No. 16) in D maj Cadenzas, Lead-ins and
Piano reduction
Urtext / Ed. M. Flothuis Ornaments to the Piano
by D. Woodfull-Harris
Piano reduction by E. R. Barthel Concertos of W. A. Mozart
BA 5317-90 °
BA 5383-90 ° BA 4461
TP 148 Study score
TP 249 Study score
Renowned pianist Paul
- K. 482 (No. 22) in E-flat maj Badura-Skoda has written
- K. 453 (No. 17) in G maj
Urtext / Ed. H. Engel, cadenzas, lead-ins and
Urtext / Ed. E. and P. Badura-
H. Heussner ornaments for the following
Skoda
Piano reduction by M. Töpel Mozart Piano Concertos:
Piano reduction by
BA 5387-90 ° K. 175, 238, 415, 449, 453, 456,
D. Woodfull-Harris
TP 149 Study score 466, 467, 482, 491, 503, 537,
BA 5384-90 °
TP 156 Study score 595.
PIANO CONCERTOS
A Masterpiece for Wittgenstein

Ravel, Maurice
(1833-1897) NEW 2016
Concerto for the Left Hand
for Piano and Orchestra
Urtext / Ed. D. Woodfull-Harris
With a Foreword by C. Baur
Piano reduction by Maurice
Ravel
BA 7881-90 °
No distribution rights for Spain

and the USA.
In 1929 Paul Wittgenstein, a

pianist and war veteran who
lost his right arm in the Great
War, commissioned Maurice
Ravel to write a concerto for
him to perform. The result was
one of Ravel’s most thrilling
compositions and, for
Wittgenstein, the most
important of the many works
he commissioned over the
course of his career.
This scholarly-critical edition

of Ravel’s Piano Concerto for
the Left Hand is based on
previously inaccessible and
unknown sources. The editor,
Douglas Woodfull-Harris, was
able to consult manuscripts in
the private library of the Paul
Wittgenstein Estate which
allowed him to retrace the
work’s evolution from Ravel’s
autograph working copy to the
first printed edition. From: Ravel, Concerto for the Left Hand · BA 7881-90 (Solo Piano Part)
A source of key importance and it enabled the editor to  Includes source descriptions
to this new edition is a correct a great many wrong and a Critical Commentary
handwritten French copy of notes which could be found with alternative readings
Ravel’s own piano reduction in previous editions, including (Eng)
(the autograph is inaccessible) the solo piano part.
that he gave to Wittgenstein to  Informative Foreword on
facilitate rehearsing the work. The piano reduction in our the work’s history and
This copy is the sole source edition contains both Ravel’s genesis (Ger/Eng/Fr)
reflecting Wittgenstein’s own and Wittgenstein’s fingerings.
interpretation and containing Also included is a solo part  Piano reduction with
his corrections to the final without fingering, thereby separate Urtext solo part
cadenza. It also helps us to giving pianists the opportunity enclosed
understand omissions in the to enter their own fingering
first edition of the score as after having studied those of
well as the piano reduction, Ravel and Wittgenstein.
50
PIANO MUSIC IN STUDY SCORE EDITIONS
Bach · Beethoven
Bärenreiter Classics · Urtext Study Scores
(1770-1827)
The Five Piano Concertos
5 study scores in a boxed set
TP 920
The musical text of these five

study scores reflects a judicious
study of every surviving source,
producing an Urtext edition at
the very highest level.
Rounding off the edition are
an informative Introduction
by Beethoven scholar Barry
Bach, Johann Sebastian  Vol. 1: The Well-Tempered Cooper on the genesis of the
(1685-1750) Clavier I & II / Vol. 2: Clavier works and a Foreword by the
Übung I - IV, The Art of Fugue, renowned editor Jonathan Del
Complete Piano Solo Works Ricercari / Vol. 3: English Suites, Mar describing the sources and
Urtext. 4 study scores in a French Suites, Inventions and the editorial approach.
boxed set Sinfonias, Notebook for W. F.
TP 2002 Bach, The Notebooks for Anna
 Bärenreiter Urtext edition
Magdalena Bach / Vol. 4:
at the cutting edge of
An amazingly inexpensive Preludes, Individual Piano Works,
scholarship
study edition presenting all Toccatas, Arrangements of
of Bach’s clavier music in Works by Other Composers
four large, handy volumes
containing the definitive
Urtext from the New Bach
Edition.
This unique edition was

prepared by internationally
recognized scholars on the
basis of all known sources
and the latest research
findings. As well as the many
familiar pieces, the reader
will also discover works which
were originally written by
Bach’s contemporaries and
were re-worked and heavily
ornamented by Bach. Many
of these variants appear here
for the first time in print. Each
version faithfully reflects the
one original source: hybrid
versions of the sort often
found elsewhere have been
strictly avoided.
From: Beethoven, Concerto No. 4 in G major · TP 920
CHAMBER MUSIC WITH PIANO
Brahms, Johannes Trio for Violin, Violoncello and

Trio with Piano (1833-1897) Piano after the Sextet in B-flat
major op. 18
Trio for Violin, Horn (Viola or arranged by Theodor Kirchner
Brahms, Johannes Violoncello) and Piano op. 40 Urtext / Ed. C. Hogwood
(1833-1897) Urtext / Ed. C. Hogwood BA 9441 Score with parts
BA 9435 Score with parts
Trio for Violin, Violoncello Theodor Kirchner (1823-1903),
and Piano op. 87 Brahms’ famous Horn Trio a friend of Brahms, arranged the
Urtext / Ed. C. Hogwood op. 40, composed in 1865 for composer‘s String Sextet op. 18
BA 9436 Score with parts the natural horn, is a work for piano trio.
of considerable significance
amongst the composer’s Simrock, Brahms’ publisher,
output. issued the trio in 1883. Brahms
responded to the arrangement
Christopher Hogwood draws of his sextet with total
on a newly discovered source enthusiasm and praise for the
for this Bärenreiter publication, skills of his friend Kirchner.
a source that has not been
available for any previous Hogwood’s scholarly-critical
edition. We now learn that edition includes an introduction
Brahms wrote at least the trio which sheds light not just on
part of the Scherzo movement the history of the arrangement
some twelve years earlier – in and its validity in its own right,
1853 – and that it was originally but also on Kirchner and his
intended for solo piano. This relationship to Brahms.
piano movement is printed in
the appendix.  A much welcomed edition
to the piano trio literature
Trio for Violin, Violoncello  Appendix with the 1853
and Piano op. 101 piano version of the trio  Includes an informative
Urtext / Ed. C. Hogwood movement introduction (Eng/Ger) and
BA 9437 Score with parts a Critical Commentary (Eng)
 Includes alternative parts
Christopher Hogwood’s for violoncello and viola
scholarly-critical edition of
Brahms’ final and perhaps Trio for Clarinet (Viola), Dvořák, Antonín
greatest trio is based on two Violoncello and Piano op. 114 (1841-1904) NEW 2016
main sources, the first Urtext / Ed. C. Hogwood
edition and the autograph. BA 9438 Score with parts Piano Trio in B-flat maj op. 21
Ed. A. Čubr
The foreword of this edition Brahms’ Clarinet Trio, BA 9578 Score with parts
presents detailed information composed in 1891, was inspired
on contemporary performance by the exceptional musicality Dvořák’s Trio in B-flat major
practise; Hogwood has drawn of clarinettist Richard op. 21, the first of his four
on the comments of Fanny Mühlfeld. works for violin, violoncello
Davis, a Brahms student, to and piano, was composed in
shed light on this. She describes As he did for his horn trio, 1875 and premiered two years
how Brahms played the trio Brahms prepared a viola part later. This edition presents the
with Joseph Joachim and as a possible alternative to the musical text from Volume
Robert Hausmann at an clarinet. Both scorings were IV/9 of the Complete Edition
informal reading (with Clara rehearsed (the viola part being of the Works of Antonín
Schumann turning pages) in played by Joseph Joachim) Dvořák. The violoncello part
Baden Baden in c. 1895. Davis’ prior to the premiere and has been newly engraved and
descriptions have much to do publication of the work. the sections which were
with articulation, dynamics written in treble clef have
and tempo fluctuations; in  Viola part included as an been transferred to tenor
short exactly those aspects of alternative to the clarinet clef. In his Foreword, Dvořák
performance practice where part authority David R. Beveridge
we lack real direction. vividly describes the work’s
 With a detailed foreword genesis and reception on the
(Eng/Ger) on the work’s basis of the latest research
genesis and performance findings.
practice
52
PIANO SOLO
Dvořák, Antonín
(1841-1904)
NEW 2016
Dumky
for piano, violin and
violoncello op. 90
The dumka is a Slavic folk

song or dance of a melancholy
character. Dvořák’s magnum
opus in the piano trio genre
takes its name from its dumka
movements, which he
Dvořák, Antonín composed in Prague in Fauré, Gabriel
(1841-1904) 1890-91. (1845-1924)
Piano Trio in G min op. 26 After long hesitation Dvořák Trio for piano, violin and
Eds. A. Pokorný, K. Šolc also prepared a piano violoncello op. 120
New preface by E. Velická reduction while he was in the Urtext / Ed. J. W. Sobaskie
(Cz/Eng/Ger) United States in the summer BA 7902 Score with parts
BA 9538 Score with parts of 1893. The previous year
he had played the work on a Until now Fauré’s piano trio
Dvořák’s second piano trio forty-concert farewell tour has presented musicians with
(1876) documents the of Bohemia with Ferdinand considerable problems, as the
transition from the composer’s Lachner and Hanuš Wihan. score and the separate string
experimental phase to the The editor of this edition took parts have offered conflicting
emergence of his characteristic the Simrock print as his readings. Bärenreiter’s first
style which partly involved the starting point. However he critical edition of this
return to definite form and also carefully distinguished masterpiece finally unites the
thematic clarity. The main between the various parts with the score.
source for this present edition reissues and consulted
No distribution rights for the
was the first printed edition Dvořák’s sketches as well as
USA.
(1880). his piano reduction.
Martinů, Bohuslav
A Critical Commentary
(1890-1959)
provides detailed information
on the work’s sources, tempo
Promenades for flute, violin
markings and formal divisions
and harpsichord (piano) (1940)
of the movements.
 Urtext edition reflecting
the latest musicological
research
 Detailed Preface (Ger/Cz/

Eng) and Critical
Commentary (Eng)
 Contains previously
unknown music (draft
version of Dumka No. 3)
Piano Trio in F min op. 65
Ed. F. Bartoš
New preface by
H.-J. Hinrichsen and I. Rentsch
(Ger/Cz/Eng)
Sonata for flute, violin and
piano (1936)
Trio with Piano

(1756-1791)
Complete Piano Trios

for piano, violin and violoncello
Urtext / Eds. W. Plath, W. Rehm
Trio in E-flat maj K. 498

“Kegelstatt-Trio” for piano,
clarinet (violin) and viola
Urtext / Eds. W. Plath, W. Rehm
Six Sonatas K. 10-15. - Trio in E-flat maj D 929

Early Sonatas II for keyboard op. 100 Smetana, Bedřich
(harpsichord), violin (or flute) BA 5610 Score with parts (1824-1884)
and violoncello
Urtext / Eds. W. Plath, W. Rehm Trio in G min for piano, violin
BA 4756 Score with parts and violoncello
Urtext / Eds. F. Bartoš,
Two Sonatas K. 46d and 46e J. Plavec, K. Šolc
for violin and violoncello. BA 9518 Score with parts
Arranged for violin, violoncello
ad lib. and piano by M. Töpel Smetana took a keen interest
Based on the Urtext of the in the interpretation and
New Mozart Edition / study of chamber music
Ed. D. Berke throughout his life. His own
BA 8123 Score with parts compositions were, without
exception, unusual works, as
was already evident in the
Pintscher, Matthias Piano Trio in G min of 1855.
(*1971) He wrote this in memory of
his daughter Bedřiška who
svelto for violin, violoncello died before her 5th birthday.
and piano (2006) Smetana finished the
BA 9342 Playing score Škroup, František Jan
(1801-1862) composition only three
months after her death.
Schubert, Franz Trio in E-flat maj op. 27
(1797-1828) for piano, clarinet (violin) and
violoncello
Complete Piano Trios Urtext / Ed. M. Harlow Spohr, Louis
for piano, violin and violoncello BA 9521 Score with parts (1784-1859)
Urtext / Ed. A. Feil
The Trio in E-flat major is Trio in B-flat maj op. 133
- Trios in B-flat maj D 28 and in stylistically reminiscent of for piano, violin and violoncello
E-flat maj D 897 op. post. 148 Beethoven’s chamber music; Ed. O. Leinert
BA 5626 Score with parts its unison opening recalls, for BA 7570 Score with parts
example, Beethoven’s famous
- Trio in B-flat maj D 898 op. 99 “Gassenhauer Trio”. This
BA 5607 Score with parts pleasing composition, which
represents unknown repertoire
of Czech chamber music from
the period of the national
revival movement, can be
performed in two different
scorings, with clarinet or violin.
 First Urtext edition
54
Quartet with Piano Fauré, Gabriel Quintet with Piano

(1845-1924)
Dvořák, Antonín Piano Quartet in C min, op. 15 Dvořák, Antonín
(1841-1904) for piano, violin, viola and (1841-1904)
violoncello
Bagatelles op. 47 for two Urtext / Ed. D. Herlin Piano Quintet in A maj op. 81
violins, violoncello and piano BA 7903 Score with parts for piano, two violins, viola and
H 2271 Score with parts violoncello
Piano Quartet in G min, Ed. A. Čubr
Piano Quartet in D maj op. 45 for piano, violin, viola New preface by D. Beveridge
op. 23 W 2017 and violoncello (Cz/Eng/Ger)
for piano, violin, viola NE Urtext / Ed. D. Herlin BA 9573 Score with parts
and violoncello BA 7904 Score with parts
Urtext / Ed. R. Tait Furrer, Beat
BA 9574 Score with parts  First Urtext editions of (*1954)
In preparation these works
spur for piano and string
quartet (1998)
BA 7423 Score,
Mozart, Wolfgang Amadeus Parts in slipcover
(1756-1791)
Quartet in G min K. 478 (1756-1791)
for piano, violin, viola and
violoncello Chamber Music Editions
Urtext / Ed. H. Federhofer of the Piano Concertos
BA 4728 Score with parts for two violins, viola,
violoncello and piano
Quartet in G min for piano, Piano reductions with
violin, viola and violoncello string parts
40 pages facsimile and Urtext / Ed. C. Wolff
14 pages text; bound
ISBN 978-3-7618-1042-2 - Concerto in F maj K. 413
(No. 11)
Piano Quartet in E-flat maj Quartet in E-flat maj K. 493 BA 4875
op. 87 for piano, violin, viola for piano, violin, viola and
and violoncello violoncello - Concerto in A maj K. 414
Eds. A. Pokorný, K. Šolc Urtext / Ed. H. Federhofer (No. 12)
New preface by E. Velická BA 4729 Score with parts BA 4877
(Cz/Eng/Ger)
BA 9537 Score with parts Suk, Josef - Concerto in C maj K. 415
(1874-1935) (No. 13)
Dvořák composed his second BA 4879
Piano Quartet in E-flat major Piano Quartet in A min op. 1
op. 87 in the summer of 1889 for piano, violin, viola and - Concerto in E-flat maj K. 449
during a torrent of creativity: violoncello (No. 14)
“My head is so full, if a human Urtext / Ed. Z. Nouza BA 4871
being could only write it all BA 9546 Score with parts
down straight away! […] It is Schubert, Franz
unexpectedly easy and the  First scholarly-critical (1797-1828)
melodies simply flow towards edition
me. Thanks be to God!” These Quintet in A maj “Trout
words could describe the  Standard work of Czech Quintet” D 667 op. post. 114
quartet itself, a work with music for piano, violin, viola,
characteristic carefree tone violoncello and double bass
and clear nationalistic Urtext / Ed. A. Feil
colouring. The primary source BA 5608 Score with parts
for this publication was the
first edition (1890).
CHAMBER MUSIC WITH PIANO / CONTINUO METHOD
Sextet with Piano

(1770-1827)
First appearance in print
Concerto No. 4 in G major accompaniment, of the sort
for Pianoforte and Orchestra which were also made for
op. 58 Mozart’s piano concertos K. 413
arranged for Pianoforte and to 415 and later for the Chopin
String Quartet concertos.
BA 9034 Score and 6 parts This Urtext edition, edited
by the renowned Beethoven
This anonymous sextet scholar Jonathan Del Mar,
arrangement of Beethoven’s presents this arrangement
Fourth Piano Concerto was for the first time in print. The
highly popular in Vienna musical text is supplemented
during the composer’s lifetime. by an informative Introduction
We know this from at least and a Critical Commentary.
two sets of handwritten parts
which were then in circulation.
No piano part has been handed  First ever publication of this
down; indeed, the original sets arrangement
of parts probably omitted the
piano. The soloist presumably The sextet version deftly  Includes a separate solo
studied his part from the integrates the original wind part as was customary in
first edition of the solo part, parts into the string texture. Beethoven’s day
published with the original The arrangement stands in the
performance material in 1808. tradition of piano concertos  Provides new possibilities
(The full score did not appear with chamber music for soloists to perform this
until 1861). work
Continuo Method Standard Continuo Method

Christensen, Jesper Bøje others. These manuals contain
18 th Century Continuo Playing practical tips for playing from
A Historical Guide to the a figured bass. Christensen
Basics. then adds comments and
Translated by J. B. Robinson examples of his own.
(2002). 155 pages; hardcover
In addition to demonstrating
English edition how musicians played at the
BA 8177 time, Christensen succinctly
summarizes the way figured
French edition bass was taught and studied,
BA 8176 which can be of great help
to performers today.
In his figured bass tutor, Jesper improvised in performance.
Bøje Christensen, a teacher at He takes an unusual approach:
the Schola Cantorum in Basle, Christensen presents the  “… an instructive and
shows readers how to produce various figured bass manuals illuminating book, one which
stylistically accurate figured of the early eighteenth century belongs on the music rack of
bass realisations, whether by Dandrieu, St. Lambert, even experienced continuo
written beforehand or Heinichen, Telemann and players.” (Notes)
56
FACSIMILES
“The Well-Tempered Clavier is the Old Testament, Beethoven′s sonatas

the New. We must believe in both.” Hans von Bülow
Johann Sebastian Bach

The Well-Tempered Clavier
The Well-Tempered Clavier diversity’. Here Bach not only
Part I · BWV 846–869 presented the sum total of
keyboard artistry in his day but
Facsimile of the autograph foresaw its future evolution.
manuscript in the Staatsbiblio- His treatment of the keys marked
thek zu Berlin – Preussischer a turning point in music history.
Kulturbesitz. With a
Commentary by Christoph The autograph score, originally
Wolff and Martina Rebmann a fair copy, contains later
Documenta musicologica II/50, revisions and alterations
90 pages of facsimile and reflecting the composer at
28 pages of Commentary work. This facsimile edition
(Eng/Ger), half-leather binding presents the manuscript in
BÄRENREITER FACSIMILE
high-quality four-colour
ISBN 978-3-7618-2368-2
reproduction. Bach authority
The preludes and fugues of Christoph Wolff provides a
The Well-Tempered Clavier Commentary to the work’s
embrace an entire cosmos of genesis and the characteristics
compositional devices and of Bach’s handwriting. Martina
musical characters – the “ne Rebmann (Staatsbibliothek zu
plus ultra” of ‘unity through Berlin) describes the subsequent
history of the autograph.
Wolfgang Amadeus Mozart

Piano Concerto in C minor K. 491
Piano Concerto in C minor score. On the one hand this
K. 491 allows us to retrace his creative
process, on the other hand in
Facsimile of the autograph some passages the definitive
score held at the Royal College readings are almost illegible,
of Music, London. With a especially in the piano part.
commentary by Robert Levin
Documenta musicologica II/48, This facsimile edition enables
74 pp. of facsimile and everyone to form their own
approx. 40 pp. of Commentary opinion of the questionable
(Eng/Ger), half-leather binding passages. Mozart’s work
BÄRENREITER FACSIMILE appears here for the first time
ISBN 978-3-7618-1927-2 in a colour facsimile, making
it possible to easily recognise
When composing his Piano the contrasting colours of ink.
Concerto K. 491 Mozart made
an exception by producing A fascinating insight into
sketches that he later enlarged Mozart’s art of composition
and extensively revised for the
GIFT ITEMS
Bärenreiter My Progress
Notes
NEW 2016
 A student lesson book
 A general note book
 A gift
Format: DIN A 6
(10.5 cm x 14.8 cm /
4.1 inches x 5.8 inches)
32 pages · binding: stapled
BA 8100 Mozart red

BA 8100-20 Schubert yellow
BA 8100-21 Dvořák orange
BA 8100-24 Telemann green
NEW 2017
Music Lesson Book

14.8 cm x 21 cm. 36 pages
BA 9670
Contains alternating
pages with musical staves
Notes Notes
and regular writing lines.
........................................................................................ Inserted is a page with
........................................................................................ 20 stickers in colour.
........................................................................................
........................................................................................
........................................................................................
........................................................................................
........................................................................................
........................................................................................
 Please see
........................................................................................
........................................................................................
Bärenreiter’s website
........................................................................................ www.baerenreiter.com
........................................................................................ for more information on the
........................................................................................
individual editions, such as
........................................................................................
........................................................................................
complete bibliographical data,
........................................................................................ cover illustrations, sample
www.baerenreiter.com The Musicians’ Choice pages, complete contents,
and descriptive texts.
58
INDEX
B G P
Bach, Carl Philipp Emanuel 11 German Organ and Keyboard Piano Album Bärenreiter
Bach, Johann Sebastian Music from Bach‘s Period 5 Contemporary Composers 6
10, 43, 45, 51, 57 German Organ and Keyboard Pintscher, Matthias 31, 54
Badura-Skoda, Paul 49 Music of the 17 th Century 5
Bärenreiter Notes 58 Graham, Peter 7, 42 R
Bärenreiter Piano Album Baroque Grieg, Edvard 24
5 Ramade-Etchebarne, Anita 8, 31
Bärenreiter Piano Album H Rameau, Jean-Philippe 31
Early 20th Century 6 Ravel, Maurice 10, 31, 32
Bärenreiter Piano Album Handel, George Frideric 10, 24 Reicha, Antonín 32
Four-Hand 42 Haydn, Joseph 10, 25 Rossini, Gioachino 33
Bärenreiter Piano Album Romantic Hradecký, Emil 9, 42
S
5 J
Bärenreiter Piano Album Vienna Satie, Erik 10, 33, 34, 35, 44
Classic 5 Janáček, Leoš 25, 48 Schubert, Franz
Bärenreiter Piano Kaleidoscope 4 Ježek, Jaroslav 25 10, 33, 36, 37, 45, 54, 55
Bärenreiter Piano Moments 8 Schulhoff, Erwin 9, 37
Bärenreiter Sonatina Album 5 K Schumann, Clara 37
Barraqué, Jean 13 Schumann, Robert 10, 37, 38
Beethoven, Ludwig van 10, 14, 15, Klavier-Festival Ruhr Bärenreiter Skrjabin, Alexander 39
16, 17, 45, 46, 47, 51, 56 Piano Album 6, 42 Škroup, František Jan 54
Brahms, Johannes 10, 18, 43, 52 Kleeb, Jean 9, 25 Smetana, Bedřich 40, 44, 54
Koželuch, Leopold Antonin 25 Spohr, Louis 54
C Krenek, Ernst 26 Stockhausen, Karlheinz 40
Krieger, Johann 26 Suk, Josef 40, 55
Cabezón, Antonio de 19 Krieger, Johann Philipp 26
Chabrier, Emmanuel 19 Sweelinck, Jan Pieterszoon 40
Chopin, Frédéric 10, 19, 20 L T
Christensen, Jesper Bøje 56
Classic goes Jazz 9, 25 Liszt, Franz 10, 26 Tchaikovsky, Peter 10, 41
Cofalik, Antoni 7 Telemann, Georg Philipp 41
Couperin, FranÇois 19 M
Trojahn, Manfred 41
Martinů, Bohuslav 10, 27, 48, 53 Twardowski, Romuald 7
D
10, 28, 29, 43, 48 V
Debussy, Claude 10, 21
Distler, Hugo 43, 47 Mozart goes Jazz 9, 30 Vierne, Louis 41
DuŠek, FrantiŠek Xaver 22 Mozart, Wolfgang Amadeus
Dvořák, Antonín 8, 10, 29, 30, 43, 44, 48, W
22, 43, 47, 52, 53, 55 49, 54, 55, 57
Dvořák, Milan 9 Muffat, Georg 22, 30 Weber, Carl Maria von 44
Mussorgsky, Modest 31 Weckmann, Matthias 42
E
O Z
Easy Classics for Piano 5
Easy Piano Pieces and Dances 10 Ochs, Siegfried 44 Zipoli, Domenico 42
Ebner, Wolfgang 22, 30 Organ and Keyboard Music at the
Salzburg Court 1500 –
F 1800 5
Organ and Keyboard Music of the
Fauré, Gabriel 22, 53, 55 Imperial Court Chapel
Frescobaldi, Girolamo 23 Vienna 1500 – 1700 5
Froberger, Johann Jacob 24
From Handel to Ravel 6
Furrer, Beat 24, 55
9OUR-USIC$EALER
60 "iRENREITER 6ERLAGÀ+ASSELÀ'ERMANYÀWWWBAERENREITERCOMÀ30!

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Piano Solo Piano Concertos Continuo Method ........................... 56

Photo: The Bärenreiter Library in Kassel

ABBREVIATIONS AND KEY TO FIGURES

Learning, Performing and Teaching

What can I expect

A True Piano Appetiser!

Organ and Keyboard Music

Collections of Original Works  With works by Belá Bartók / of spontaneous music-making.

For Open-minded Teachers

Collections of Original Works Collections

Mozart, Wolfgang Amadeus

 “These volumes will no

Easy Piano Pieces and Dances

“The series of Easy Pieces and Dances by the Classical

Martinů, Bohuslav Mozart, Wolfgang Amadeus

Handel, George Frideric

Bach, Carl Philipp Emanuel

The Six Prussian Sonatas

The Six Württemberg Sonatas

Bach, Johann Sebastian

Bach, Johann Sebastian

Italian Concerto BWV 971

Beethoven, Ludwig van

The frequently played Sonatas

Sonata quasi una Fantasia At the dawn of the 19th century

Composed at about the same

From: Beethoven, Sonata quasi una Fantasia in E-flat maj op. 27

Sonata in D maj NEW 2016

The lyrical D major Sonata op. 28

Albumblatt for Piano

Chabrier, Emmanuel Chopin, Frédéric

Brahms, Johannes Habanera Easy Piano Pieces and Dances

Volume III The editor has, for the first

Hardly any cycle of piano

Christoph Flamm has critically

(Reflets dans l’eau, Hommage

Georg Muffat was no less

Wolfgang Ebner was organist

 First publication of two

Frescobaldi, Girolamo Volume III

Janáček, Leoš Kleeb, Jean

1. X. 1905 “Sonáta” Baila Negra. 10 new

Liszt’s Sonata in B minor,

Krieger, Johann Philipp

Complete Organ and

Volume 2: J. Krieger and

From: Liszt, Sonata in B min · BA 9650

Though Bohuslav Martinů

In this Easy Piano Pieces and

Mendelssohn Bartholdy, Felix

Easy Piano Pieces and Dances

Songs without Words

This edition includes all the

The appendix also contains a

Mozart, Wolfgang Amadeus

“Ah, vous dirai-je Maman”

“Ah, vous dirai-je Maman”

Variations for Piano

The Variations op. 54 gave the

This publication brings

From: Mozart, “Ah, vous dirai-je Maman” · BA 5765

The only source that contains

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music of 1891-92, though Sparta during gymnopaedia ȃȱȱȱȱ

Wagnerian Joséphin Péladan,  Urtext editions based on ȱȄ

both their versions. Notes on

exciting, moderately difficult

work, which formed the basis  Informative Forewords