La première Rhapsodie de Debussy pour clarinette, et sa Rhapsodie pour saxophone ont toutes deux été composées à l'origine que des oeuvres de chambre avec accompagnements de piano. Plus tard, le compositeur disposées deux pièces pour grand orchestre, et ce volume unique contient la partition orchestrale et de chambre de l'arrangement de piano de ces deux oeuvres.En tant que compositeur principal considérée comme faisant partie du mouvement impressionniste français, la musique de Debussy est caractérisée par quelques innovations profondes dans l'orchestration et le mélange des tons instrumentale, privilégiant la chaleur du vent sur ??les cordes qui prédominait auparavant. Cette édition offre une occasion rare d'étudier l'utilisation de Debussy du timbre orchestral, en comparant chaque score à sa version de chambre d'origine. Par ailleurs, les versions piano de chaque oeuvre, dépouillé à l'essentiel très, fournissent un aperçu fascinant et franche dans l'approche harmonique de Debussy. / Scores

Piano accompaniments for a selection of superb John Williams' compositions from Indiana Jones and the Kingdom of the Crystal Skull. This piano accompaniment book is part of an instrumental series arranged for Flute Clarinet Alto Sax Tenor Sax Horn in F and Trombone. It includes a specially designed accompaniment that can be easily played by a teacher or intermediate piano student. A CD which features live demonstration performances of various instrument tracks from throughout the series has also been included. This terrific edition is full of images from the film including 6 pages of full-colour stills.

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

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 andOrchestra. 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

Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre

Rhapsody in F Sharp for Piano and Orchestra was commissioned by the BBC Proms and first performed in the Royal Albert Hall on August 19th 1943. Written with the wartime audience in mind it is unashamedlypopular in style with its flashy virtuosity making it immediately accessible and entertaining. There is argument among scholars as to whether it should be referred to in the Major or Minor key as it makes almost equal use ofboth starting in one and finishing in the other. Ernest J Moeran (1894-1950) was an English composer who followed the tradition of R. Vaughan Williams and John Ireland by collecting preserving and using manyfolk songs mainly from Norfolk Suffolk and Ireland.

Internationally renowned minimalist Philip Glass composed this Piano concerto in the traditional three-movement form. The first movement titled ‘The Vision’ is classic Glass with a steamroller quality that suggests the immensedrive and ambition the two explorers needed to draw on for their journey into the wilderness. At the beginning of the second movement the theme in the solo Indian Flute musically represents the name ‘Sacajawea’ the ShoshoneIndian mother and guide who assisted the explorers on their way for whom the movement is named.The final movement entitled ‘The Land’ is an exploration of expansiveness both of the land that was being explored but also of thegeologically expanded time over which the landscape has evolved and the great changes that followed Lewis and Clark’s journey.This concerto is designated as part of The Concerto Project recording series started by Glass in theyear 2000 currently in four volumes and including eight concerti.American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as aminimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small andlarge ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

for Piano and Orchestra-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances. BÄRENREITER URTEXT: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been preparedusing clearly formulated scholarly critical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Violoncello or Contrabass-Concerto For Piano And Orchestra No.22 E-flat major K. 482.Piano Solo Flute Clarinet (in B-flat) (2) Bassoon (2) Horn (2) Clarin trumpet (2) Kettledrum Violin (2) Viola (2) Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarlycritical criteria. Editors which include prominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.