Breitkopf & Haertel Orchestra Sheet Music

The edition supervised by Thomas Fritzsch is based on the only authentic source, a copy from the late 19th century - its predecessors are still lost today.

The edition supervised by Thomas Fritzsch is based on the only authentic source, a copy from the late 19th century - its predecessors are still lost today.

The edition supervised by Thomas Fritzsch is based on the only authentic source, a copy from the late 19th century - its predecessors are still lost today.

The edition supervised by Thomas Fritzsch is based on the only authentic source, a copy from the late 19th century - its predecessors are still lost today.

The edition supervised by Thomas Fritzsch is based on the only authentic source, a copy from the late 19th century - its predecessors are still lost today.

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Kindred spirits Already as a law student, Schumann had occupied himself with Byron's 'Manfred' material, which fascinated him ever since. In the inner conflict of the romantic hero, Schumann possibly...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Klaus Doege reevaluates the surviving sources. The result is an edition that precisely traces the many, often contradictory, readings between the autograph and the first printing in a text-critical ma...

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

Oh, the tempi! A terrible thing!, Dvorák repeatedly complained. Not without reason, as the renowned Dvorák expert Klaus Döge found in the edition of the '8th'.

When and where was Mozart's flute concerto written and for whom? 1777 or 1778, Salzburg or Mannheim? How much did Ferdinand Dejean actually pay, only 96 or the promised 200 florins?

When and where was Mozart's flute concerto written and for whom? 1777 or 1778, Salzburg or Mannheim? How much did Ferdinand Dejean actually pay, only 96 or the promised 200 florins?