Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Air pour l'orchestre. Par HENZE HANS WERNER. In October of 1997, I received an invitation from New York Philharmonic Music Director Kurt Masur asking me to contribute a musical message for the coming millennium. Maestro Masur's letter read 'My dream would be to have you provide us with a work lasting from 10 to 15 minutes that could both stand on its own or perhaps be combined with musical messages with other composers which we might compile for a full evening's concert.' I welcomed the opportunity to bring one of six unique perspectives to this collective exploration of the meanings of the new millennium, and it is my hope that the Multi-Arts Production Fund will chose to support the New York Philharmonic's 'Messages for the Millennium' project. My Millennium Message, Fraternité, Air for Orchestra, can best be described as a quiet and placid work in which all the instruments of the orchestra are as one ... and sing in praise of harmony and peace. - Hans Werner Henze/ Répertoire / Orchestre

Par HOLST GUSTAV. Invocation was composed in 1911 and first performed on May 2nd of that year in the Queen's Hall, London, by May Mukle with the New Symphony Orchestra conducted by Landon Ronald. The work received several performances with Piano accompaniment before 1914, but with the public success of The Planets, it became one of many works that Holst never had time to revise or publish. A certain amount of editing of dynamics and phrasing has been necessary, and the Piano reduction has occasionally been slightly adjusted to match the orchestral accompaniment more closely. The separate Cello part has been edited by Julian Lloyd Webber./ Répertoire / Conducteur

Among the glories of the Baroque era is a legacy of concertos for multiple soloists, in which two, three, or a complete ensemble interact with the orchestra. A product of that fine tradition, this work is rooted in earlier pieces that lend it a distinctive color and structure.

Rameau's 'Les Fêtes de l'Hymen et de l'Amour? was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as 'Zaïs?, 'Zoroastre? and 'Les Boréades?. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from 'Aruéris?, a scoring found nowhere else in his oeuvre.For the first time, this scholarly-critical edition of 'Les Fêtes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Académie Royale de Musique in 1748.- Milestone of French Baroque opera in performance practice orientated vocal score- With a brief foreword (Fr/Eng) containing salient information on the genesis of the work, the synopsis and the edition / Orchestre

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Par BENJAMIN GEORGE. Dedicated to the memory of Oliver Knussen, George Benjamin?s 2021 Concerto for Orchestra premiered at the BBC proms by the Mahler Chamber Orchestra. Benjamin said that the piece attempts ?to conjure a trace of the energy, humour, and spirit? of Knussen. It is varied and dynamic across its unbroken 18-minute span ? skittish lines play against still, suspended ones ? and full of star turns for its various instrumental protagonists. Available here as a full score. Parts available to hire from September 2022. ?A terrific 18-minute tour de force, clearly inspired by the virtuosity of the Mahler CO players, but far from being merely a glittering showcase.? The Times (Richard Morrison), August 2021 / Date parution : 2022-05-31/ Répertoire / Orchestre

The standard edition!Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven's five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level.Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach.- Bärenreiter Urtext edition at the cutting edge of scholarship- The standard edition for pianists, students, conductors and libraries- Attractively priced boxed setThe study scores are not available separately at present. / Conducteur De Poche

Par SAINT-SAENS CAMILLE. Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms, but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces, but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance, Habanera, the 1887 work features a languid mood, highlighted by bursts of virtuoso activity. This volumecontains the full score for violin and orchestra of both these magnificent pieces./ Répertoire / Orchestre

Reinforce legato, staccato, and ensemble phrasing with this piece while ushering in the joyous holiday season with musical glee. Opening with a clear unison statement and slowly adding textures and harmonic voices, the work develops to a joyous tutti statement that continues to build in intensity to a glorious conclusion. This arrangement is scored for full orchestra- however, it is also completely playable by string orchestra alone, or with any number of added winds or percussion. (2:30) / Orchestre

Scored for large orchestra The Keening was only the second of MacMillan's orchestral works, written between 1985-87 when he was a student of John Casken at the University of Durham. The composer explains that 'keening' is a form of vocal lament associated with mourning, found in folk traditions of Ireland, northern Scotland and other cultures. Much of this work is based on the Gaelic lament tune 'Great is the Cause of My Sorrow', often known as 'Murt Ghlinne Comhann' (The Lament for Glencoe).This 25-minute score was withheld by the composer until 2010, and it received its first performance in 2014, with the BBC Scottish Symphony Orchestra under the composer's direction. A significant addition to the orchestral repertoire by one the leading composers of today. / Orchestre

Par REIMANN ARIBERT. Aribert Reimann?s ?Trilogie lyrique? is based on three plays by Maurice Maeterlinck: In L? Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. ?Who is sitting in our midst?? he asks. He is the only one who can see the presence of death. Intérieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirs to the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queen?s servants, who ful?l her demand and snatch the sleeping boy from his sisters? arms. / Date parution : 2022-07-20/ Répertoire / Orchestre

Par BACH JOHANN SEBASTIAN. Version of 1736 (final version) Bach ?s St. Matthew Passion passed through several stages in its progress towards its final form, stages that today cannot be completely reconstructed. It may be taken as certain that the work was performed on Good Friday 1729 in St. Thomas?s Church, Leipzig, in a version of which the copy made by Bach ?s son-in-law Johann Christoph Altnickol gives us an approximate idea. There is no earlier extant autograph score than that of the later version, which may probably be dated 1736, and on which the present edition is based. - Study score format 22. 5 x 16. 5cm - Urtext of the New Bach Edition -Full score, performance material (BA5038), vocal score (BA5038-90) and study score (TP196) available for sale/ Répertoire / Partition de Poche

Par BENJAMIN GEORGE. Full Score for Orchestra of George Benjamin's stunning Ringed By The Flat Horizon . 'This work contains some of the most startlingly precise storm music ever written - it seems less evocation than the sound of the thing itself. But there is more to it than that: Eliot's lines suggested form for the music, and the piece is music, and not just illustration. It moves through an original and convincing musical logic which is realized through a masterly control of varied sonorities'. Richard Dyer. Boston Globe September 1987/ Répertoire / Conducteur