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Symphony In C Major Hob. I:60 : Il Distratto

The six movements of Joseph Haydn’s Symphony No. 60 “Il Distratto” once served as incidental music for the comedy “Le Distrait” by Jean-François Regnard (1655–1709), which was performed at the Esterházy court in 1772. This consisted of an overture, four entr’actes – the play is in five acts – and a finale. But this composition is not merely a compilation of stage music: Haydn referred to it in letters as a symphony. As a “character symphony”, it takes up the subject of the play – human absentmindedness – which is expressed in music. The minuet and trio of the symphony, with their stylistic diversity (or rather lack of plan), “portray the musicians in great disarray” as a reviewer stated in the Pressburger Zeitung of 27 January 1776. He also wrote, “One must laugh out loud at the thought of it” concerning the final movement, in which the violins unexpectedly begin to tune their instruments after a few opening measures. These and other compositional effects make the symphony a prime example of Haydn’s musical humour and ingenuity. In continuation of the cooperation between Bärenreiter and G. Henle Verlag regarding Haydn’s large-scale choral works, operas and symphonies, these editions are based on G. Henle Verlag’s complete edition “Works of Joseph Haydn”.

60 Etueden fuer Violine

Händel-Jahrbuch 2014, 60. Jahrgang

Barcarolle Für Klavier Fis-dur Op. 60

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony No.4 In B Flat Op.60

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar.The editorial process was a huge undertaking becauseof the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's newUrtext edition caused a considerable stir in the music world.Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication oftheBeethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado.Full scores, study scores andcomplete performance material to Beethoven’s Nine Symphonies are available for sale.

Symphony In C Major Hob. I:60 : Il Distratto

Symphony In C Major Hob. I:60 : Il Distratto

Praktische Intonationslehre : 60 Hörbeispiele zum Thema Intonation und Stimmung

Symphony In C Major Hob. I:60 : Il Distratto

Symphony In C Major Hob. I:60 : Il Distratto

Symphony In C Major Hob. I:60 : Il Distratto

Auskunft uber den Glauben : Festschrift Helmuth Rilling zum 60. Geburtstag

Psyche op. 60 : Concert Piece for Soloists, Choir and Orchestra

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.

Der Kodex des Magister Nicolaus Leopold. : Nr. 60-99. 40 auch mehrteilige Kompositionen, überwiegend zwei- bis vierstimmig

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.