That’s it!

The Leipzig Book Fair has closed its gates for 2015 and we are looking back at four exciting and interesting days with you, our customers.

 

Thank you very much for your overwhelming interest in our issues and our publishing company. We are grateful for many fruitful talks, your compliments, your critics as well as your ideas.

 

Until we meet again in Leipzig 2016, we are very much looking forward to the Frankfurt Music Fair from April 15 to 18. 

Meet us in hall 3.1 stand A43. See you there!!

New Publications

Opera project

“Nathan the Wise“ launched

On February 10 it was about time:

Our great opera project  “Nathan the Wise“ was officially launched.

Click here to read more.

First CD on the

 Kuhnau-Project released

"The singers of 'Opella Musica' were able to fill their parts with empathic inwardness and the orchestra 'Camerata lipsiensis‘ under the baton of Gregor Meyer convinces with a transparent, dance-like performance. The promising start gives hope that Kuhnau's work will finally receive the honor that it deserves."

New catalog

 NOVA Spring / Summer 2015

Our new catalog with the preview on our publications for Spring/Summer 2015 was recently published. You can have a look inside here or may order your printed copy  under Service/Promotion material.


The Kuhnau-Project

In close collaboration with the Leipzig Bach researcher Dr. Michael Maul, the director and conductor of the Leipzig Gewandhaus choir Gregor Meyer as well as the vocal ensemble Opella Musica, we are preparing the leading edition of the vocal works by Johann Kuhnau (1660-1722), the predecessor of Johann Sebastian Bach as cantor of St. Thomas' church in Leipzig. With only a few exceptions, the cantatas of Johann Kuhnau have remained mostly unnoticed by musicologists and editorial projects. We are proud to present Kuhnau's complete vocal works in critical Urtext editions for the first time.

 

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Friedrich Schneider - Complete Piano Sonatas

Complete Piano Sonatas in 4 volumes


Despite a large number of special investigations in this area, Friedrich Schneider’s extensive œuvre for the piano has so far remained completely unnoticed by researchers, although he was one of the most highly esteemed piano virtuosos of his time, alongside his reputation as composer and conductor. On superficial observation, however, his name immediately appears as the pianist of the premiere of Beethoven’s Op. 73 (Piano Concerto No. 5 in E-flat major) on 28 November 1811 at the Leipzig Gewandhaus.

 

Piano music had already been his central focus since his first attempts in composition at the Zittau gymnasium. Besides a large number of dances, ländler, ecossaises and variations, however, he had not yet composed any large-scale work for the instrument. Schneider explained this in his autobiography as follows:

 

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