Couverture Rigide. Par GADE NIELS WILHELM. The four works presented in this volume – 'Frühlings-Phantasie” op. 23, 'Frühlings-Botschaft” op. 35, 'Die heilige Nacht' op. 40 and „ Beim Sonnenuntergang' op. 46 – were composed between 1852 and 1870. All of these works belong to the 'concert piece” genre, as the title pages of the respective first editions suggest. The works' instrumentation is varied: While „ Frühlings-Botschaft ' and „ Beim Sonnenuntergang' are composed for mixed choir and orchestra, 'Die heilige Nacht” calls for an additional solo alto. 'Frühlings-Phantasie” is not scored for choir at all, juxtaposing the orchestra with four solo voices and piano. Gade based his texts on poems by Edmund Lobedanz (op. 23), Emanuel Geibel (op. 35), August von Platen (op. 40), and Andreas Munch (op. 46)./ Répertoire / Conducteur

Couverture Rigide. Par HAENDEL GEORG FRIEDRICH. Handel's 'Il pastor fido”, HWV 8a, is the most modest of his Italian operas: With over half of its numbers drawing from musical material of earlier Italian cantatas, the work deliberately reflects the pastoral style of the Italian serenata. In order to capture the simplicity of this approach to form, Handel made use of several different techniques, such as a consistent use of high vocal registers, an abundance of monothematic da capo arias, and an overall prevalence of held-back arias. 'Il pastor fido” did not lend itself particularly well for an opera adaptation: Reducing the original text to the scale of an opera libretto posed an immense challenge. With drastic cuts, Handel's librettist Rossi condensed five acts with eighteen characters into three acts with only six roles. The libretto – a paltry sketch of the complex original drama – was not well received. But Rossi had actually done his best to add a sense of coherence to the story while preserving at least some of Guarini's poetic language. This 'Halle Handel Edition' volume compares several sources that were not available for earlier editions. Amongst other things it presents the first modern edition of the complete overture, the complete stage instructions from the libretto, and an alternative ending for the duet of Mirtillo and Amarilli in the third act./ Répertoire / Conducteur

Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Conducteur

Par PURCELL HENRY. Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output. Fantazias And In Nomines is a collection of his 15 Fantasies and 2 In Nomines, Z. 731-747. Purcell is credited with popularising the hitherto arcane form of the Fantasy, perhaps most famously in his Fanstasia Upon One Note, where a middle C is sustained throughout – in live performances this issometimes played by a volunteer from the audience! This full score edition has been edited by the renowned musicologist Robert Thurston Dart. / Rép Classique / Répertoire / Conducteur

La puissance communicative du Tevot pour grand orchestre (2007) de Thomas Adès, avec sa trajectoire parfaitement jugée et sa conclusion flamboyante en la majeur, est presque sans égal. N'ayant pas peur de porter son cœur sur sa manche, c'est une œuvre d'une vision, d'une sincérité et d'une expression à couper le souffle. Commandé par l'Orchestre philharmonique de Berlin et Sir Simon Rattle.
'Une pièce orchestrale vaste et capiteuse, exaltante dans son déferlement de lamentation, de renouvellement et d'affirmation... Timbales sombres, trombones, cors bougent comme un courant de marée, cédant à une danse scintillante de bois et d'enclumes accordées, un choral pour hautbois et vibraphone . Les suspensions tirent, les retours de lamentations, les violons aigus se dématérialisent. Cette musique est aussi audacieuse dans l'imagination que dans la structure - et elle réussit à coup sûr.
The Times (Hilary Finch), 23 juin 2014
'...un magnifique voyage orchestral à travers le chaos jusqu'à la consolation.'
The Times (Geoff Brown), 20 février 2010
/ Partitions classique / Ensemble et orchestre / Conducteur / FABER MUSIC

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Zur Edition

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Composer / Author: Bach, Johann Sebastian
6 Faksimiles

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Composer / Author: Bach, Johann Sebastian
Passio secundum Johannem, Teil I und II

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Composer / Author: Bach, Johann Sebastian
Nebeneinander werden die abweichenden Satzzählungen im Band der Neuen Bach-Ausgabe und im Bach-Werkeverzeiuchnis (BWV) geboten

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Composer / Author: Bach, Johann Sebastian
Anhang 1: Satz 1-10 (NBA) ältere Fassungen

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Composer / Author: Bach, Johann Sebastian
Anhang 2: Die zur Fassung II gehörenden Sätze (5)

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Composer / Author: Bach, Johann Sebastian
Anhang 3: Die Textänderungen in den Sätzen 19,20 und 39 (NBA)

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Composer / Author: Bach, Johann Sebastian
Beilage: Faksimile Wiedergabe der ersten 21 Seiten der teilautographen Originalpartitur / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

JOSQUIN: Masses based on Gregorian chants 1
NJE 3
(2003), XVII, 83 pp.

Inhoud:
Missa Ave maris stella
Missa De beata virgina / Partitions classique / Ensemble et orchestre / Conducteur / HAL LEONARD

Par SAAORBORG. / Niveau : Assez Facile / Grande formation / Répertoire / Conducteur

Par SARRIO-NADAL. Durée: 4'00 / Niveau : Assez Facile / Musique originale / Répertoire / Conducteur

Written for Melinda Maxwell and the Orchestra of St. John's Smith Square to commemorate the orchestra's twenty first anniversary. the happy surprise of his Little Concert. . . beneath the graceful long lines and jig-like spurts of a solo part expressly written for Melinda Maxwell Maw finds time and space enough to draw quite long-range implications from his basic motif of a semitone plus a major third and to insert some of his special densely poetic harmonies.Bayan Northcott The Independent 6 June 1988.Scored for Oboe solo two Horns two Violins Viola Cello and Double Bass.

Par BIZET GEORGES. Méonce CHOMEL (Arr. ) / Niveau : Avancé / Opéras, opéras comiques, opérettes / Répertoire / Conducteur