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Journal articles on the topic 'Klavier op'

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Published: 27 July 2024

Last updated: 28 July 2024

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1

Busch, Regina. "Leopold Spinner: A List of his works." Tempo, no. 154 (September 1985): 22–35. http://dx.doi.org/10.1017/s004029820002146x.

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When René Leibowitz was preparing the first performance of the Piano Concerto op.4 in 1949 (it was for this occasion that Spinner made the transcription for chamber orchestra, which is the only version of the piece that is known, printed, and performed), he asked Spinner for some details about his work and himself. The answer was characteristic:…Nun schliesslich, Sie würden gerne Einzelheiten von mir wissen: Ich bin 42, habe eine Frau und ein Kind (Margaret, 6 Jahre), das ist ganz privat narürlich (aber für mich sehr wichtig, darum erwähne ich es)! Ich habe bei Webern studiert. Was ich bis jetzt geschrieben habe, fängt mit der Sonate für Violin und Klavier op.1 an, dann ein Streichquartett op.2, eine Sonate für Klavier op.3. Op.4 kennen Sie bereits.

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2

Levy, David B., Ludwig van Beethoven, and Sieghard Brandenburg. "Sechs Bagatellen fur Klavier, Op. 126." Notes 44, no. 3 (March 1988): 555. http://dx.doi.org/10.2307/941534.

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3

Roesner, Linda Correll, Robert Schumann, Hans Joachim Kohler, Wolfgang Boetticher, and Hans-Martin Theopold. "Grande Sonate Fmoll, Op. 14; fur Klavier." Notes 41, no. 3 (March 1985): 596. http://dx.doi.org/10.2307/941198.

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4

Oosthuizen, M., and W. Lüdemann. "Arnold van Wyk (1916-1983) se Carmine Petronii - Carmine Petronii by Arnold van Wyk (1916-1983)." Tydskrif vir Geesteswetenskappe 62, no. 3 (September 2022): 568–87. http://dx.doi.org/10.17159/2224-7912/2022/v62n3a7.

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Die beeld van Arnold van Wyk as liedkomponis berus op sy liedsiklusse Vier weemoedige liedjies en Van liefde en verlatenheid, asook enkele losstaande liedere. Die beeld behoort uitgebrei te word deur kennis te neem van die ongepubliseerde Petronius-liedere, waarvan die komposisiesketse en outograwe bewaar word in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Die Petronius-liedere is 'n liedsiklus vir bariton en klein instrumentale ensemble (fluit, altviool, tjello, Franse horing, perkussie, harp en klavier) op vyf Latynse tekste uit die Satyricon van Petronius Arbiter (c. 27-66 GE). Die komposisieproses, begin gedurende 1957-1959, is toe onderbreek en is eers in 1964 voltooi. Die onderskeie liedere toon Van Wyk se vermoe om gedigte verbeeldingryk te toonset en om 'n oortuigende vormeenheid te gee aan elke lied en die siklus as geheel. Hy ontgin die instrumente se klankkarakter in die ensemble op vindingryke wyse en gebruik die begeleiding tegelyk as middel tot klankskildering en vormgewing. Saambindende elemente in die siklus is die eensoortige sentiment van die tekste, die klavier se deurlopende teenwoordigheid, die wisselnootmotief, en die gebruik van die tritonus in verskillende toonsoorte, asook pedaalpunte. Akkoordsamestellings lees dikwels moeilik weens die dubbele spelling van note. Nadat elke lied individueel bespreek word, word gewys op die moontlike invloed van Benjamin Britten se werk op die Petronius-liedere.

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5

Sichardt, Martina. "Narrativität in der Musik?" Die Musikforschung 58, no. 4 (September 22, 2021): 361–75. http://dx.doi.org/10.52412/mf.2005.h4.640.

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In der Schlussfuge in Ludwig van Beethovens Sonate für Violoncello und Klavier op. 102/2 wird in Takt 143 ein neues Kontrasubjekt eingeführt. Da hier erstmals die vorher fast durchgängige Achtelbewegung aufgegeben wird, lässt sich diese Episode im Sinne der Narrativitätstheorie als eine Art Rückblick beschreiben. bms online (Schöner, Oliver)

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6

Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (March 1, 2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.

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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the same conceptions: rhapsodic melody with closing cadenza and a fermata. The final return of the Adagio establishes a cyclic unity. The first performance of the sonata in 1910 with string quartets by Kodály and Bartók founded the beginning of modern music in Hungary. Also the Sonatina, originally the 3rd part of Sonata, published in 1922, has a Lento-introduction with rhapsodic-like parts wich begins a process-like evolution of composition. A relationship with the special features of the Sonata for Cello and Piano in the history of the genre includes also works by Debussy (1915) and Hindemith (1919).

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7

Ho, Allan B., Sergey Ivanovich Taneyev, Viktor Stepanovich Kosenko, and Stephan Breith. "Quartett fur Klavier, Violine, Viola und Violoncello, Op. 20." Notes 51, no. 4 (June 1995): 1465. http://dx.doi.org/10.2307/899161.

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8

Lloyd, William, and Ferruccio Busoni. "Concerto fur Klavier und Orchester mit Mannerchor Op.39." Musical Times 136, no. 1834 (December 1995): 670. http://dx.doi.org/10.2307/1003567.

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9

Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.

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Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)

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10

Stoll, Renan Eduardo, and Catarina Leite Domenici. "Duas práticas de performance de Variationen für Klavier, Op. 27 de Anton Webern: Um estudo comparativo de edições e gravações." Revista Vórtex 4, no. 3 (December 31, 2016): 1–65. http://dx.doi.org/10.33871/23179937.2016.4.3.1343.

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Este artigo investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos distintos de performance: o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt, e o estilo pré-guerra de Stadlen.

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11

Heneghan, Áine. "The Theme of Webern's Variationen für Klavier, Op. 27, Third Movement." Music Theory and Analysis (MTA) 6, no. 1 (April 30, 2019): 129–38. http://dx.doi.org/10.11116/mta.6.1.4.

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Webern's lectures on form (1934) offer insights into the composer's thinking on musical organization, yet they are rarely invoked to illuminate his own music. Inspired by his analyses of Beethoven, the author provides a reading of the theme from the final movement of Webern's Variations for Piano, Op. 27.

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12

Petersen, Barbara A., Richard Strauss, and Josef Weinheber. "Blick vom oberen Belvedere, op. 88/2, fur hohe Stimme und Klavier." Notes 47, no. 3 (March 1991): 970. http://dx.doi.org/10.2307/941947.

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13

Chadwick, N. "Alban Berg, Sonate fur Klavier op. 1 UE33070. Ed. by Klaus Lippe." Music and Letters 89, no. 2 (May 1, 2008): 302–3. http://dx.doi.org/10.1093/ml/gcm091.

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14

Berger, Christian. "Atonalitat und Tradition. Anton Weberns "Vier Stucke fur Geige und Klavier" op. 7." Archiv für Musikwissenschaft 53, no. 3 (1996): 183. http://dx.doi.org/10.2307/931179.

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15

Kimber, Marian Wilson. "Musik zu Ein Sommernachtstraum von Shakespeare, op. 61, and: Musik zu Ein Sommernachtstraum von Shakespeare, op. 61: Arrangements fur Klavier (review)." Notes 60, no. 1 (2003): 266–69. http://dx.doi.org/10.1353/not.2003.0109.

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16

NEFF, SEVERINE. "An Unlikely Synergy: Lou Harrison and Arnold Schoenberg." Journal of the Society for American Music 3, no. 2 (May 2009): 155–93. http://dx.doi.org/10.1017/s1752196309090129.

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AbstractThis essay addresses the unlikely but profound synergy between Arnold Schoenberg and Lou Harrison. Despite their personal rapport and mutual interests in visual art, they held antithetical beliefs about the nature of musical composition. Schoenberg maintained that a composition was the presentation of a metaphysical “Idea.” Harrison saw composition as the process of systematically gathering and assembling resources and techniques.After studying with Henry Cowell and Schoenberg, Harrison displayed a fascination with musical resources that led him to compose twelve-tone works using disparate compositional tools. A 1937 piano piece combines Schoenberg's methods of variation with Cowell's and Seeger's techniques of “dissonation.” The “Conductus” from the 1942 Suite for Piano, a work inspired by Schoenberg's Suite für Klavier, op. 25, explores all twelve prime forms of the row in light of Cage's square-root form. A nontonal 1944 string quartet ends on a triad like Schoenberg's Ode to Napoleon, op. 41.In the 1950s Harrison rejected the aims of the total-serialist movement and found his own voice in just intonation instead. By the 1980s all vestiges of twelve-tone technique disappeared from his pieces; however, analogous serial techniques resurfaced in his paintings. Thus Harrison retained deep respect for Schoenberg as a composer, teacher, and friend.

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17

Sobaskie, James William. "Franck's Sonata in A Major for Violin and Piano (1886) and Faure's Sonata No. 1 in A Major for Violin and Piano Op. 13 (1875-6), and: Sonate Nr. 2 e-Moll Opus 108 fur Violine und Klavier, and: Deuxieme Sonate Op. 117 fur Violoncello und Klavier, and: Elegie Op. 24 fur Violoncello und Klavier, and: Papillon op. 77 aus "Les Soirees Intimes" fur Violoncello und Klavier, and: Anthology of Selected Pieces for Cello and Piano, and: Elegie Op. 24, Sicilienne Op. 78 for Violoncello and Piano, and: Antholo." Notes 61, no. 2 (2004): 556–61. http://dx.doi.org/10.1353/not.2004.0164.

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18

Ambrose, Jane P., Carl Czerny, Dieter H. Forster, and Francesco Saverio Mercadante. "Rondo facile et brillant fur Flote oder Violine und Klavier in D-dur, op. 374/2." Notes 43, no. 1 (September 1986): 186. http://dx.doi.org/10.2307/897871.

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19

Brown, Clive. "Konzert für Klavier und Streichorchester, a-Moll, and: Konzert für Violine, Klavier und Orchester (Bläser und Pauken ad libitum), d-Moll, and: Konzert Nr. 2 für Klavier und Orchester d-Moll, op. 40, and: Concerto for Two Pianos and Orchestra in E Major (1823) (review)." Notes 64, no. 2 (2007): 366–70. http://dx.doi.org/10.1353/not.2007.0146.

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20

Neumeyer, David, Paul Hindemith, Bernhard Billeter, Giselher Schubert, and Gunter Ludwig. "6 Walzer: "Drei wunderschone Madchen im Schwarzwald" fur Klavier zu vier Handen, op. 6. Nach dem Notentext der Hindemith-Gesamtausgabe." Notes 51, no. 1 (September 1994): 427. http://dx.doi.org/10.2307/899281.

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21

Cason, T. Elizabeth. "Symphonie Nr. 1 c-Moll op. 32, and: Symphonie Nr. 2 D-Dur op. 35, and: Symphonie Nr. 3 g-Moll op. 36, and: Ouverture Nr. 1 e-Moll op. 23; Ouverture Nr. 2 Es-Dur op. 24, and: Trio op. 45 fur Flote oder Violine, Violoncello und Klavier (review)." Notes 59, no. 3 (2003): 758–62. http://dx.doi.org/10.1353/not.2003.0007.

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22

DeVoto, Mark, and Alban Berg. "Hier ist Friede, op. 4, no. 5; eigenhandiges Arrangement des Orchesterliedes fur Klavier, Harmonium, Violine und Violoncello; Faksimile des Autographs in der Bayerischen Staatsbibliothek." Notes 47, no. 2 (December 1990): 554. http://dx.doi.org/10.2307/942011.

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23

Vos, Piet G., and Paul P. Verkaart. "Inference of Mode in Melodies." Music Perception 17, no. 2 (1999): 223–39. http://dx.doi.org/10.2307/40285892.

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Listeners' ability to infer the mode (major vs. minor) of a piece of Western tonal music was examined. Twenty-four subjects, divided into two groups according to their level of musical expertise, evaluated 11 musical stimuli, selected from J. S. Bach's "Well-Tempered Clavier". The stimuli included both unambiguous and ambiguous examples of the two modes, as well as one example of a modulation (from minor into major). The stimuli consisted of unaccompanied melodic openings of compositions, each containing 10 tones. Stimulus presentation and evaluation took place in nine progressively longer steps, starting with presentation of the first two tones, followed by their evaluation on a continuous scale, with 0 = "extremely minor" and 100 = "extremely major," and ending with evaluation of the complete stimulus. The results showed that mode inference followed the prescribed modes and tended to become more definite with increasing stimulus length. Experts were generally more definite in their inferences than were nonexperts. Surprisingly, the temporal structure of stimuli also appeared to affect mode inference. The degree of definiteness of mode judgments did not systematically differ between the two modes. It was concluded that listeners are able to infer the mode of a piece of music in the absence of explicit harmonic cues. The generalizability of the results with respect to music pieces of late periods in Western music history and the impact of different musical genres on mode inference are discussed. /// Onderwerp van onderzoek betrof het perceptuele onderscheid tussen majeur en mineur. Vierentwintig proefpersonen, verdeeld in twee groepen die verschilden in nivo van muzikale expertise, evalueerden 11 hen onbekende muziek stimuli, gekozen uit J. S. Bach's "Wohltemperierte Klavier". De stimuli bevatten zowel ondubbelzinnige als ambigue voorbeelden van de twee toonsoort geslachten, alsmede een voorbeeld van modulatie (in dit geval van mineur naar majeur). De stimuli bestonden uit ongeharmonizeerde melodische openingen van composities, elk 10 tonen lang. Stimulus aanbieding en (majeur/mineur) evaluatie vonden plaats in negen toenemend langere stappen, beginnend met de aanbieding van de eerste twee tonen van een stimulus, gevolgd door een evaluatie daarvan (op een continue schaal met 0 = "uitgesproken mineur" en 100 = "uitgesproken majeur"), en eindigend met de evaluatie van de complete stimulus. De resultaten lieten zien dat de evaluaties de profilering der voorgeschreven toonsoortgeslachten volgden en stelliger werden met toenemende stimulus lengte. De experts bleken doorgaans zekerder in hun kwalificaties dan de nonexperts. Verrassend genoeg bleek ook de temporele struktuur der stimuli de beoordeling te beïnvloeden. Geconcludeerd werd dat luisteraars in staat zijn om het geslacht van de toonsoort waarin een muziekstuk staat te identificeren in afwezigheid van expliciete harmonische informatie. De generalizeerbaarheid der resultaten met betrekking tot muziekstukken uit latere perioden in de Westerse tonale muziekgeschiedenis alswel de mogelijke invloed van verschillende muzikale genres op de majeur/mineur interpretatie werden ter discussie gesteld.

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Røllum-Larsen, Claus. "Musikselskabet af 14. Marts 1896. En rekonstruktion og en karakteristik af dets repertoire." Fund og Forskning i Det Kongelige Biblioteks Samlinger 57 (September 1, 2018): 131. http://dx.doi.org/10.7146/fof.v57i0.118771.

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Claus Røllum-Larsen: Musikselskabet af 14. Marts 1896. En rekonstruktion og en karakteristik af dets repertoire Med dannelsen af Musikselskabet af 14. Marts 1896 skabte William Behrend, Louis Glass og Gustav Helsted et forum for den ny udenlandske musik. Med sin private karakter og sin kompromisløshed i programlægningen i retning af det “moderne” – som stifterne tilstræbte og så det – gik de videre ad de veje, andre musikforeninger havde betrådt med det formål at bidrage til en udvidelse af koncertrepertoiret. Det var derimod ikke selskabets formål at give de unge komponister mulighed for at få deres egne værker bragt frem. Gennem dels indledninger/foredrag, dels arrangementer for to klaverer og firhændigt klaver gav de optrædende tilhørerne et formodentlig levende indtryk af en række musikværker, hvoraf mange først længe efter fik deres første fremførelser for orkester på dansk grund. Indsatsen for Bruckners musik er særdeles tankevækkende. Den tager sin begyndelse før den første danske opførelse af en Bruckner-symfoni finder sted og er for flere af symfonierne en til to generationer forud for værkernes første danske opførelser. Foruden kompositioner af Wagner og Bruckner, som var de dominerende komponister, opførtes en række værker af ikke mindst franske (Chausson, Debussy, Duparc, Franck) og russiske (Borodin, Čajkovskij, Glasunov, Kjui, Rachmaninov, Rimskij-Korsakov, Skrjabin) – komponister hvoraf flere i øvrigt repræsenterede markante stilistiske alternativer til Wagner og Bruckners centraleuropæiske stil. Men også andre væsentlige værker af komponister uden for det gængse repertoire i Københavns koncertsale programsatte man: Liszts Eine Symphonie zu Dantes Divina Commedia, Mahlers 2. symfoni, Smetanas Trio for klaver, violin og cello op. 9, samt værker – overvejende sange – af Stenhammar, Strauss og Wolf. De medlemmer, som mødte flittigt op til sammenkomsterne, har stiftet bekendtskab med et bredt og udsøgt udvalg af nyere, og ofte helt nye værker med udpræget stilistiske fornyelsestendenser. En sådan musikformidling må betegnes som bemærkelsesværdig om ikke ligefrem enestående – i hvert fald i Danmark.

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25

Wallace, Robin. "Beethoven Ludwig van. Konzert Nr. 1 in C für Klavier und Orchester, op. 15. Ed. Jonathan Del Mar. Kassel: Bärenreiter, 2013. Score (99 pp.)/Parts/Piano Reduction (57 pp.)/Critical Commentary (59 pp.)." Nineteenth-Century Music Review 11, no. 2 (December 2014): 393–95. http://dx.doi.org/10.1017/s1479409814000494.

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26

Stokes, Laura. "Elias = Elijah: Ein Oratorium nach Worten des Alten Testaments = The Words Selected from the Old Testament op. 70 ed. by Christian Martin Schmidt, and: Elias = Elijah: Ein Oratorium = An Oratorio, and: Christian Martin Schmidt, and: Elias = Elijah, op. 70, MWV A 25, Klavier-Bearbeitungen = Arrangements for Pianoforte." Notes 70, no. 4 (2014): 735–39. http://dx.doi.org/10.1353/not.2014.0064.

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27

Rimm, Robert. "Le festin d'Esope and Other Works for Solo Piano, and: Ier concerto da camera en la mineur pour piano et orchestre, op. 10, and: Zweite Ballettszene fur Klavier, op. 20, Busoni-Verz. 209, and: The Complete Elegies, the Six Sonatinas and Other Original Works for Solo Piano, and: Toccata and Fugue in D Minor and Other Bach Transcriptions for Solo Piano, and: The Godowsky Collection, and: The Complete Piano Sonatas, and: Complete Fairy Tales for Solo Piano, and: Passeggiata Variata (1981) for Piano (review)." Notes 60, no. 1 (2003): 290–95. http://dx.doi.org/10.1353/not.2003.0126.

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28

Neill, Sarah Elaine. "Brahms Johannes. Albumblatt für Klavier. Edited by Christopher Hogwood. Bärenreiter 9606. (Kassel, Basel, London, New York, Prague: Bärenreiter, 2012), v + 4pp., € 4,95. - Brahms Johannes. Walzer Op. 39. Edited by Christian Köhn. Bärenreiter 9602. (Series Bärenreiter Urtext, 2011), vii + 20pp., € 7,00. - Brahms Johannes. Walzer Op. 39, Leichte Ausgabe. Edited by Christian Köhn. Bärenreiter 9603. (Series Bärenreiter Urtext, 2011), ix + 18pp., € 7,00. - Brahms Johannes. Zwei Lieder für Männerstimmen a cappella. Edited by Helmut Lauterwasser. Chor-Bibliothek 5321. (Weisbaden, Leipzig, Paris: Breitkopf & Härtel, 2010), 8pp., € 2,30." Nineteenth-Century Music Review 10, no. 1 (June 2013): 198–201. http://dx.doi.org/10.1017/s147940981300013x.

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29

Szabó-Knotik, Cornelia. "Werk des Monats: Gewagte Virtuosität. Jenö Takács - Tarantella für Klavier und Orchester op. 39." Österreichische Musikzeitschrift 47, no. 9 (January 1992). http://dx.doi.org/10.7767/omz.1992.47.9.526.

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30

Davies, Joe. "Clara Schumann, Drei Romanzen für Violine und Klavier, Three Romances for Violin and Piano, Op. 22, ed. Jacqueline Ross (Basel: Bärenreiter-Verlag, 2021), ix + 27 pp. € 19.95." Nineteenth-Century Music Review, September 27, 2022, 1–6. http://dx.doi.org/10.1017/s1479409822000301.

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Derous, Eva. "Naamdiscrimatie bij cv-screening." Tijdschrift voor Arbeidsvraagstukken 23, no. 4 (December 1, 2007). http://dx.doi.org/10.5117/2007.023.004.009.

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De laatste tijd wordt stevig gediscussieerd over de zin van het anoniem solliciteren, c.q. screenen van sollicitanten bij aanwervingprocedures (zie Demeyere, 2005; Kalshoven, 2007; Obbema, 2006; Sligter, 2006). Het principe is vrij eenvoudig: bij anoniem solliciteren krijgt de werkgever enkel het curriculum vitae (cv) en/of de sollicitatiebrief van de sollicitant te zien en geen persoonlijke informatie die niet functierelevant geacht wordt, zoals naam, etnische achtergrond, leeftijd of geslacht. Hoewel anoniem solliciteren ook betrekking kan hebben op leeftijd of sekse, gaat het debat voornamelijk over de etnische achtergrond van de sollicitant. Dit is mede ingegeven door de hoge werkloosheid onder allochtonen en indicaties van etnische discriminatie (Dagevos, 2006; Klaver et al., 2005). Het anonimiseren of weglakken van persoonlijke gegevens op cv’s (zoals de naam) wordt gezien als één manier om allochtone en autochtone sollicitanten een gelijke kans te geven en etnische discriminatie bij cv-screening te vermijden.

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"Scores Received - Beethoven Ludwig van, Konzert Nr. 2 in B für Klavier und Orchester/ Concerto No. 2 in B-flat major for Pianoforte and Orchestra, op. 19, ed. Jonathan Del Mar (Kassel, Bärenreiter, 2013), Score, Piano, and Piano Reduction, 74, 35, and 46 pp. - Beethoven Ludwig van, Sonate in f für Klavier/ Sonata in F minor, op. 57, “Appassionata,” ed. Jonathan Del Mar (Kassel, Bärenreiter, 2014), 47 pp. - Beethoven Ludwig van, Concerto No. 4 in G major for Pianoforte and Orchestra, op. 58, ed. Jonathan Del Mar (Kassel, Bärenreiter, 2015), Critical Commentary, 54 pp. - Dvořák Antonín, Smyčcový kvintet G dur/ String Quintet in G major/Streichquintett G-Dur, op. 77, ed. František Bartoš, Antonín Pokorný (Kassel, Bärenreiter, 2014), Miniature Score, 50 pp. - Dvořák Antonín, Smyčcový kvartet č. 2 B dur/ String Quartet No. 2 in B-flat major/Streichquartett Nr. 2 B-Dur, B 17, ed., Antonín Pokorný, Karel Šolc (Kassel, Bärenreiter, 2014), Miniature Score, 73 pp. - Schubert Franz Peter, Sonate in c für Klavier/ Sonata I C minor for Piano, D958, ed. Walburga Litschauer (Kassel, Bärenreiter, 2015), 42 pp. - Schulhoff Erwin, Sonáty č 1-3 pro klavír/ Sonatas Nos. 1-3 for Piano/ Sonaten Nr. 1-3 für Klavier, ed. Michael Kube (Kassel, Bärenreiter, 2014), 66 pp. - Schumann Robert, Liederkreis von Joseph Freiherrn von Eichendorff, op. 39, ed. Hansjörg Ewert (Kassel, Bärenreiter, 2015), 39 pp. - Verdi Giuseppe, Messa da Requiem, ed. Marco Uvietta (Kassel, Bärenreiter, 2014), Score, 321 pp." Nineteenth-Century Music Review 12, no. 2 (September 4, 2015): 415. http://dx.doi.org/10.1017/s1479409815000440.

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