"Handsome and useful editions with impressive quality of production, concise and informative introductions, with elegant and clear presentation."
Artaria Editions was founded in 1995 to bring the music of the Viennese eighteenth century back to life. The beautiful and fascinating repertoire from the age of Haydn, Mozart, and Beethoven enlarges our concept of the period and performers will welcome these new ideas from the Classical era that will appeal to audiences looking for something new but familiar. Artaria's publications are changing fundamental perceptions about music of the late eighteenth century, particularly due to our work with Naxos, the world's leading classical music label. For the first time in centuries, it is possible to read the score and hear the music that influenced the greatest composers of the era. From being relegated to the footnotes of music history, music by composers such as Beck, Dussek, Hofmann, and Wanhal is now returning to the air. Performances of Artaria editions increase yearly. Leading Classical scholars have prepared practical editions of the most important works of the era and you can purchase scores, parts, and recordings from this website.
New Publication for 2013
Cimarosa, Domenico (1749-1801)
Overture to 'L'Armida imaginara' (AE269)
Edited by Allan Badley
Recorded on Naxos 8.570279 (Tr.1)
Cimarosa's comedy L'Armida imaginara (AE269) was
commissioned for the Teatro dei Fiorentini in Naples in 1777. Shortly before the
work's completion the composer received a second commission for an opera for Teatro
Valle in Rome. Pressed for time, Cimarosa reused a large chunk of material from
the overture to L'Armida immaginaria in the new work, Il ritorno di Don Calendrino(AE267), safe in the knowledge that the earlier work could not possibly be known
yet in Rome. The relationship between the two overtures is extremely interesting
for Cimarosa does not simply borrow material but reworks it in many small but significant
details. The superiority of the later overture indeed makes the 'original' look
like a sketch. Thus, in spite of the historical circumstances, the impression one
gains is that the overture to L'Armida immaginaria was written in greater haste
than its sequel. The reuse of the thematic material, therefore, was as much an aesthetic
decision as a pragmatic one.
Pleyel, Ignaz (1757-1831)
Violin Concerto in D (Ben 103) (AE366)
Edited by Allan Badley
US$82.00 (Performing material available for hire)
Unusually for Pleyel he published two versions of
his one authentic violin concerto. Although they were issued within a matter of
months of each other, stylistic evidence suggests that the original version (Benton
103, AE366) was composed some years earlier,
possibly even pre-dating Pleyel's move to Strasbourg in late 1783. The revised
version (Benton 103, AE366a) retains much
of the substance of the first two movements, although it is substantially recomposed,
and adds a charming rondo finale. The slow movement of the concerto is particularly
beautiful and Pleyel’s exquisite writing for the solo instrument reflects
his deep understanding of the Italianate school of violin playing he had admired
so much during his three trips to Italy. The revised version is available from Artaria
Editions, while the original version of the concerto will be available in January
Artaria Editions is very pleased to announce the publication of its full catalogue.You
can download a copy of our latest version of the catalogue in PDF format by clicking
New and important additions have been made to a number of series, most notably those
devoted to sacred music and chamber music. Artaria has also extended its musical
frontiers into the early 19th century with the publication of two magnificent piano
concertos by Ferdinand Ries, the first works in a projected edition of the complete
works for piano and orchestra, along with several important works by Hummel. Another
major milestone is the publication of one of Cimarosa’s most successful opera,
L’impresario in angustie, edited by the Italian Cimarosa scholar Simone Perugini.
The work is expected to be published before the end of 2013.
A New Look
Artaria Editions has recently introduced its elegant new cover design that replaces
the classic dark green and gold pattern used for the past fifteen years. While the
most important design elements have been retained from the original, they are presented
in a new, eye-catching manner.
Pianist Christopher Hinterhuber is to record the final CD in the complete cycle of works
for piano and orchestra by Ferdinand Ries in mid-September. The recording will take
place where the cycle began, in Wellington, New Zealand, with the New Zealand Symphony
orchestra conducted by Uwe Grodd. The recording will feature the first and last of Ries's
eight piano concertos to be published - the Concerto in E flat, Op.42 and the Concerto in G minor,
Op.177 - along with the Introduction and Rondeau, Op.144. The thirteen world premiere recordings
of this magnificent repertoire, spread over five CDs, represents one of the most important undertakings
in recent recording history.