Breitkopf and Haertel Urtext Editions

Edited by Christian Rudolf Riedel. For orchestra. First Urtext Edition. Parts available separately. Duration: ca. 9'. Full score, 40 p.

Text by Michel-Jean Sedaine. Urtext Edition. A drama in three acts. Preface in Ger. and Eng. Orchestral material available on rental from the publisher. Duration: ca. 2 hours, 15 minutes. Piano/vocal score,

Edited by Christiane Struken-Paland.  For violin & orchestra.  First Urtext Edition.  Saint-Saens

Edited by Christian Rudolf Riedel.  For orchestra.  Urtext Edition.  Preface in Ger and Eng.  Duration: ca. 10'.  Score, 44 p.

Edited by Henrik Wiese. For horn & orchestra. Urtext Edition. Study score, 132 p.

Friedrich Schneider’s second oratorio Das Weltgericht was an immediate success at its 1820 premiere in Leipzig. The initial triumph of the work, which the appearance of Mendelssohn’s

Little is known about the actual composition process of Lemminkäinen, and the performance and publication history is rather complex, resulting in a first complete printing of all four

Little is known about the actual composition process of Lemminkäinen and the performance and publication history is rather complex, resulting in a first complete printing of all the four

Little is known about the actual composition process of Lemminkäinen and the performance and publication history is rather complex, resulting in a first complete printing of all the four

Edited by Christian R. Riedel.  For orchestra.  Urtext Edition.  Preface in Ger. and Eng.  This

Edited by Christian Rudolf Riedel. For orchestra. Urtext Edition based on the first print of the score and parts revised by Schumann. Preface in Ger. and Eng. Duration: ca. 11'. Full score, 53 p.

"To strive for the highest in art" - these are the words with which Franz Schubert announced his A flat major Mass in 1828, a work which he designated as "Missa solemnis" in his autograph. Alone the genesis

“Striving for the highest in art" – this is how Schubert announced his A-flat major Mass to the Schott publishing house in 1828. The statement can also be seen as an artistic credo applicable to

The “Missa in c” was so dear to Mozart that he cited it as “evidence of the reality of my vow to marry” his beloved Constanze and to complete the only half-finished mass.

The seven years that the Spanish composer Falla spent in Paris (from 1907 to 1914) marked a turning point in his compositions. His encounter with contemporary French Impressionist music made a big impact on