Pricemate

Concert Overtures op. 37, 39 / A Summer Day - Gade, Niels Wilhelm

complete edition, score, Anthology, Urtext edition Orch Indbundet udgave

SEK 4652.00

1

Sonata for Pianoforte in A-flat major op. 110

Owing to severe illness, Beethoven had to wait for over a year after completing op. 109 before beginning work on the second piece in his triptych of late sonatas: the Piano Sonata in A-flat major op. 110. The initial sketches date from summer 1821: the work was completed by the end of the year and appeared in print the following summer – in an edition so riddled with mistakes that Beethoven angrily complained to the publisher. For this new edition Jonathan Del Mar consulted all known sources and came across previously unknown information in the course of his research. The edition appears with a meticulously edited and elegantly engraved musical text incorporating the latest findingsof scholarship, supplemented by a detailed Critical Commentary and notes on performance practice in Beethoven’s day. Owing to severe illness, Beethoven had to wait for over a year after completing op. 109 before beginning work on the second piece in his triptych of late sonatas: the Piano Sonata in A-flat major op. 110. The initial sketches date from summer 1821: the work was completed by the end of the year and appeared in print the following summer – in an edition so riddled with mistakes that Beethoven angrily complained to the publisher. For this new edition Jonathan Del Mar consulted all known sources and came across previously unknown information in the course of his research. The edition appears with a meticulously edited and elegantly engraved musical text incorporating the latest findingsof scholarship, supplemented by a detailed Critical Commentary and notes on performance practice in Beethoven’s day.

SEK 128.00

1

Lieder Volume 9

Volume 9 of the new Urtext edition of Schubert’s lieder contains lieder composed during the spring and summer of 1816, some of which follow upon series started in 1815. They are available in separate books for high, medium and low voice. The volume was completed by the eminent Schubert scholar Walter Dürr who passed away at the beginning of 2018. It was in 1816 that Schubert completed his settings of Ossian's songs and added lieder on texts by Johann Georg Jacobi, Johann Peter Uz and Matthias Claudius. Also included are the lieder from the Grob family songbook. In summer 1816 Schubert produced his first settings of poems by Christian Friedrich Daniel Schubart (“Grablied auf einen Soldaten” and “An mein Klavier”), the author of the words to one of his most famous songs “Die Forelle”/ “The Trout” (see Volume 2).

SEK 546.00

1

Lieder Volume 9

Volume 9 of the new Urtext edition of Schubert’s lieder contains lieder composed during the spring and summer of 1816, some of which follow upon series started in 1815. They are available in separate books for high, medium and low voice. The volume was completed by the eminent Schubert scholar Walter Dürr who passed away at the beginning of 2018. It was in 1816 that Schubert completed his settings of Ossian's songs and added lieder on texts by Johann Georg Jacobi, Johann Peter Uz and Matthias Claudius. Also included are the lieder from the Grob family songbook. In summer 1816 Schubert produced his first settings of poems by Christian Friedrich Daniel Schubart (“Grablied auf einen Soldaten” and “An mein Klavier”), the author of the words to one of his most famous songs “Die Forelle”/ “The Trout” (see Volume 2).

SEK 546.00

1

Lieder Volume 9

Volume 9 of the new Urtext edition of Schubert’s lieder contains lieder composed during the spring and summer of 1816, some of which follow upon series started in 1815. They are available in separate books for high, medium and low voice. The volume was completed by the eminent Schubert scholar Walter Dürr who passed away at the beginning of 2018. It was in 1816 that Schubert completed his settings of Ossian's songs and added lieder on texts by Johann Georg Jacobi, Johann Peter Uz and Matthias Claudius. Also included are the lieder from the Grob family songbook. In summer 1816 Schubert produced his first settings of poems by Christian Friedrich Daniel Schubart (“Grablied auf einen Soldaten” and “An mein Klavier”), the author of the words to one of his most famous songs “Die Forelle”/ “The Trout” (see Volume 2).

SEK 546.00

1

Thränenbenezt For Viola and Piano

Philipp Maintz was born in Aachen, Germany, in 1977. He received his first composition lessons from Michael Reudenbach. He studied composition with Robert HP Platz in Maastricht from 1997-2003, graduating with distinction,followed by a further degree in composition and electronic music with Karlheinz Essl at the Bruckner Conservatory in Linz. He has received scholarships and invitations from institutions including the Electronic Studio at theUniversity of Liège, the International Summer Courses for New Music in Darmstadt, IRCAM Paris and the North Rhine-Westphalia Ministry of Culture, an Artist’s Scholarship from Lower Saxony for the Künstlerhof Schreyahn andotherhonours: the Supportive Prize from the Ernst von Siemens Music Foundation in 2005, a scholarship from the Wilfried Steinbrenner Foundation in 2006 and a German Government Scholarship to study at the Cité Internationale desArts, Paris in 2007, Scholarship awarded by the German Minister of Culture for a one-year stay at the German Academy Rome, Villa Massimo (2010). His compositions have been performed at festivals including the InternationalGaudeamus Music Week Amsterdam, agora-festival, Paris, ars nova (SWR), International Summer Courses for New Music in Darmstadt, Wittener Tage für Neue Kammermusik, musica (Strasbourg), Wien Modern, Hear&Now London and the SalzburgFestival.

SEK 436.00

1

A Midsummer Night's Dream Op.21 : Ouvertüre. Autograph: Biblioteka Jagiellonska Kraków

An enchanted night, virtually fragrant dreams, floating fairies – the sensory associations evoked and fashioned by the music of Mendelssohn’s overture “A Midsummer Night’sDream” are almost inexhaustible.Written by the composer in 1826 in a carefree summer spent between the summerhouse and his siblings, this is without doubt Mendelssohn’s most popular concertoverture.The renowned musicologist Friedhelm Krummacher shows in the introduction how finely Mendelssohn interwove motifs and themes. He also looks into the origins of the work, especially a conjecturalfirstsketch, which is reproduced in facsimile in the appendix.To mark the 200th anniversary of Mendelssohn’s birth, Bärenreiter in cooperation with the Biblioteka Jagiellonska Kraków published ahigh-quality facsimile designed for the bibliophile, vividly bringing the composer’s delicate handwriting to life.

SEK 2053.00

1

Premiere Rhapsodie

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 377.00

1

Premiere Rhapsodie

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 239.00

1

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 90.00

1

Missa Divi Xaverii ZWV 12

The “Missa Divi Xaverii” ZWV 12, an expansive and unusually richly scored work, marks a highlight in the œuvre of Jan Dismas Zelenka (1679-1745). It was composed in 1729 while he was working at the Dresden court. The principal source of this first edition is the damaged autograph score which had long been kept under lock and key. Passages missing because of its damaged condition have been supplemented using secondary sources or reconstructed by Václav Luks, clearly marked as such in the musical text. The first performance to use the present new edition took place in the summer of 2014, when it was performed at the Utrecht Early Music Festival. A CD recording by Collegium 1704,conducted by Václav Luks, has been released by the label Accent (ACC 24301).

SEK 228.00

1

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 90.00

1

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 1003.00

1

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 90.00

1

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Debussy’s Première Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussyorchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention amongclarinettists for over a century.The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source thatshedsnew light on the piece.First Urtext edition of the orchestral versionFirst scholarly-critical edition of a pioneering work for clarinetTrilingual Foreword (Eng/Fr/Ger) with Critical Commentary(Eng)

SEK 90.00

1

String Quartet No. 12 In F Major : Op. 96 American Quartet

Dvorak String Quartet No.12 in F major Op.96 (American) (Parts) Dvorák composed his twelfth string quartet in F major Op.96, known as the “American” Quartet, in just twelve days during his summer vacation in Spillville, Iowa in June 1893. This immensely uplifting quartet has become one of the composer’s most popular works because of its immediate musical appeal. The work was issued by the publisher Simrock in Berlin in 1894; Johannes Brahms read the corrections, but the correction copy has unfortunately not survived. The editor therefore used the autograph as well as the score and parts of the first print. In accordance with current practice, the violoncello part of this edition refrains from using the false treble clef which raises the music an octave higher. Instead, the tenor clef is used. - New Urtext Edition of the “American” Quartet - Standard notation used in the violoncello part - Detailed Foreword (Ger/Cz/Eng) and Critical Commentary (Eng) by the editor - Study score (TP538) and parts (BA11538) available for sale

SEK 218.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 122.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 122.00

1

The First Walpurgis Night Op.60 : Ballade by Johann Wolfgang von Goethe

During the summer of 1799, Goethe wrote his ballad “Die erste Walpurgisnacht ” and asked his friend Carl Friedrich Zelter to set the work to music. Zelter however, felt unable to do this, and so Goethe’s wish was only realisedthirty years later by Felix Mendelssohn Bartholdy.The “heavenly words” of the pagan ballads had impressed the composer so much after a visit to Weimar, that he was inspired to set them to music. In 1832 thecomposition took shape and was performed a year later in the Sing- Akademie in Berlin.Mendelssohn was, however, unhappy with the first version of the work and held it back, until he decided on a radical revisionofthe work ten years after its premiere. Die “erste Walpurgisnacht” was first performed in 1843 in Leipzig in the presence of Robert Schumann and Hector Berlioz, in the form in which the work is still performed today. Thepublication of this edition by John Michael Cooper, Associate Professor of Music History at the University of North Texas (Denton), makes the work available in an Urtext edition for the first time in time for the 200thanniversary of the composer’s birth. The edition reflects the latest state of research, and the volume includes a Critical Commentary.- One of Mendelssohn’s most important secular works in an edition reflectingthe latest research findings.- Bärenreiter Urtext for the Mendelssohn anniversary year 2009.- Critical Commentary (Eng)- Full score (BA9072) and vocal score (BA9072-90) for sale; performance material(BA9072-72) available for hire.

SEK 255.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 122.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 334.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 122.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 271.00

1

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 122.00

1

Sinfonia concertante in E-flat major K.364 : for Violin, Viola and Orchestra

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 202.00

1

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Concert Overtures op. 37, 39 / A Summer Day - Gade, Niels Wilhelm

Sonata for Pianoforte in A-flat major op. 110

Lieder Volume 9

Lieder Volume 9

Lieder Volume 9

Thränenbenezt For Viola and Piano

A Midsummer Night's Dream Op.21 : Ouvertüre. Autograph: Biblioteka Jagiellonska Kraków

Premiere Rhapsodie

Premiere Rhapsodie

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Missa Divi Xaverii ZWV 12

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

Première Rhapsodie : For Orchestra With Solo Clarinet In B-Flat

String Quartet No. 12 In F Major : Op. 96 American Quartet

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

The First Walpurgis Night Op.60 : Ballade by Johann Wolfgang von Goethe

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364 : for Violin, Viola and Orchestra

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