Par HAENDEL GEORG FRIEDRICH. The conductor and Keyboard player Christopher Hogwood has edited the new edition of Music For The Royal Fireworks. The edition is the result of thorough revision and correction based on the source material. During this process, some incorrect notes were corrected, and in particular, the Viola part was revised. Misunderstood instructions from Handel relating to the colla parte coupling of the Viola with the second Oboe, as in the overture or with the bass parts, have been reassessed. Doubling with other parts resulted in passages, which were too high or too low: these have now been rectified and a part suited to the range of the viola has been madepossible. - New critical edition based on new sources. - Detailed Prefaces (Ger/Eng). - Urtext of the “Halle Handel Edition”. - Full score, performance material (BA4299) and study score (TP373) available for sale./ Répertoire / Partition de Poche

Par ROSSINI GIOACHINO. This study score is based on the critical edition of “ The Barber Of Seville ” edited by Patricia B. Brauner and published in 2008 as part of the series “Works of Gioachino Rossini”. But who needs a new critical edition of “ The Barber Of Seville ”? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly, none of the early editions satisfy modern demands for a scholarly-critical edition. Secondly, there is a wealth of previously unpublished material relating to this opera, of great interest to both scholars andperformers. Thus the famous overture, which Rossini had already used in his earlier opera “Aureliano in Palmira”, differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in “Aureliano in Palmira”), which includes two Flutes, two Oboes and Timpani, or in the scoring for the subsequent opera “ The Barber Of Seville ” (with just one flute, one oboe and no timpani). A series of appendices contain music and information which have been included in no other edition of the opera to date. - Takes into account all original sources, also including five manuscripts with Rossini’s autograph ornamentation. - Takes into consideration the full extent of Rossini ’s personal notational characteristics. - With a detailed foreword (Eng/Ital)/ Répertoire / Partition de Poche

Par BEETHOVEN LUDWIG VAN. Widely regarded as the most memorable and musically concentrated of Beethoven’s orchestral works, his symphony No. 5 is also one of the most popular works in the literature. With its unforgettable four-note motive, lean textures and superb orchestration, it is a classic example of the thematic unification Beethoven developed during his middle period- a creative time during which his music exhibited unprecedented freedom of expression and exultation./ Répertoire / Partition de Poche

Par HAENDEL GEORG FRIEDRICH. The publication of the new Urtext edition of Water Music makes the work available in a revised edition reflecting the latest research findings. In October 2004, the editor Terence Best found the oldest surviving manuscript score in the archives of the Royal Society of Musicians in London – primary source A, which can be dated to 1718. This discovery demands a dramatic reappraisal of what is probably Handel ’s most famous work. Until this find, the theory formulated by Barrett Lennard in 1950 was regarded as authoritative. He divided the material into three suites according to key and instrumentation. This was based on the fact that some ofthe material in the Water Music is the same as in the Concerto HWV 331. With the help of the latest technology, it has now been possible to date this Concerto to 1722. By doing this, the rationale for dividing the music into three suites has been removed. The newly found primary source A places the movements in a richly varied sequence of keys and instrumentations which offers a great range of colours than the previous arrangement. Based on new sources, editor Terence Best has been able to reconstruct the original order of the suites and correct many points left open or unclarified in earlier publications. - New critical edition based on new sources. - Detailed Prefaces (Ger/Eng). - Urtext of the “Halle Handel Edition”/ Répertoire / Partition de Poche

Par BERLIOZ HECTOR. In a self-inflicted narcotic haze, a lovesick musician is overcome by extraordinary bizarre visions of his beloved, expressed in musical imagery. Berlioz drew upon his own obsessive infatuation with actress Harriet Smithson. This work appears in full score with original instrumentation and bar numbered movements./ Répertoire / Partition de Poche

Par HAENDEL GEORG FRIEDRICH. Messiah is the supreme example of the English Oratorio. A meditation on the life of Christ, the work is a brilliant amalgam of traditional Italian Opera, English anthem and German Passion. Reprinted from the authoritative edition, this full-score edition will be welcomed by all who want to study this masterpiece./ Répertoire / Partition de Poche

Dramma giocoso (Opera) in two acts. Par MOZART WOLFGANG AMADEUS. In early 1787 Mozart made his first visit to Prague, where he attended a performance of Le nozze di Figaro on 17 January and conducted the performance five days later. Thoroughly impressed by the huge success of his opera and the personal triumphs he had enjoyed during his visit, he and his wife left the city on 7 February, but not before he had concluded a contract to write a new opera for the next season. This contract, signed with Pasquale Bondini, the director of Count Nostitz’s National Theater, led to the composition of his first opera for Prague, Don Giovanni (K. 527). Ever since its première on 29 October 1787, the opera has moved audiences over andover again and has occupied a special position in Mozart’s rich and variegated output for the stage. Urtext of the New Mozart Edition Full score (BA4550-01), vocal score (BA4550-90), study score format 22. 5 x 16. 5cm (TP279) available for sale Performance material (BA4550-72) available for hire/ Répertoire / Partition de Poche

a 6 et a 8. Par MOZART WOLFGANG AMADEUS. The Serenade in E-flat, K. 375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet. From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa. The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work's melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave. - Urtext of the New Mozart Edition - Parts sextet version (BA5333), octet version (BA5334) and study score both versions format 22. 5 x 16. 5cm (TP315) available for sale/ Répertoire / Partition de Poche

Par MENDELSSOHN-BARTHOLDY FELIX. Christopher Hogwood's first ever critical edition of the much performed concert overture goes back for the first time to all the sources. Hogwood examines not only Mendelssohn's autograph but also the first edition of the score and orchestral parts which Mendelssohn saw to print. A manuscript copy with additional music thought to have been performed under Mendelssohn's direction, but later deleted, as well as the composer's own two and four-hand piano arrangements of the composition were also taken into account. As with the other overtures in this series, the score contains a lengthy introduction, a critical commentary andfacsimiles. First ever critical edition of this concert overture. Additional music included in score and parts stemming from a source used by Mendelssohn for a performance of the work. Full score & parts (BA9056) and study score format 22. 5 x 16. 5cm (TP396) available for sale/ Répertoire / Partition de Poche