Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) andguitar (capotasto). Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) andguitar (capotasto).

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature tomodern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature tomodern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass

Cello-Dvorák’s “Slavonic Rhapsodies” Op.45 were composed in 1878 and issued by the publisher Simrock Berlin the following year. These three independent orchestral works (in D major G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period.The “Slavonic Rhapsody” Op.45/1 in D major now appears in an Urtext edition. The editor Robert Simon has made use of the first edition authorised by the composer as the principal source of his new scholarly-critical edition.- A work marking the beginning ofDvorák’s so-called Slavonic period- Urtext edition incorporating every known source- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor- Full score & parts (BA10401) available for sale

Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass Johann Friedrich Fasch (1688 - 1758) was a prolific composer who composed a variety of cantatas concertos symphonies and other chamber music. Although none of the music was published during his lifetime much of his instrumental music was later published and is still frequently performed today. The only known composition of his for lute is this Concerto in D Minor in three movements: Allegro moderato Andante and Un poco allegro. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lutetablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Viola Cembalo/Cello/Contrabass

Wind Instruments-Dvorák’s “Slavonic Rhapsodies” Op.45 were composed in 1878 and issued by the publisher Simrock Berlin the following year. These three independent orchestral works (in D major G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period.The “Slavonic Rhapsody” Op.45/1 in D major now appears in an Urtext edition. The editor Robert Simon has made use of the first edition authorised by the composer as the principal source of his new scholarly-critical edition.- A work marking the beginning ofDvorák’s so-called Slavonic period- Urtext edition incorporating every known source- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor- Full score & parts (BA10401) available for sale

Braham's second symphony was an instant success when it first premiered in 1877. From its ingenious treatment of attractive melodic ideas in the first movement and the somber adagio to the lyrical charm of the allegretto and the finale's robust cheerfulness it is a delightful combination of enchanting melodies and masterly thematic treatment. A staple of the repertoire it is reproduced here from an authoritative edition. The score appears with bar-numbered movements ideal for study in the classroom at home or in the concert hall. This affordable high-quality conveniently sized volume will be edition of choice for music students and music lovers alike.Instrumentation includes: 4 Horns in C D E G B 2 Trumpets in D B 3 Trombones Bass Tumba Timpani 2 Flutes 2 Oboes 2 Clarinets in A 2 Bassoons Violin 1 2 Violas Cellos Basses

Dvorák’s “Slavonic Rhapsodies” Op.45 were composed in 1878 and issued by the publisher Simrock Berlin the following year. These three independent orchestral works (in D major G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period.The “Slavonic Rhapsody” Op.45/1 in D major now appears in an Urtext edition. The editor Robert Simon has made use of the first edition authorised by the composer as the principal source of his new scholarly-critical edition.- A work marking the beginning ofDvorák’s so-called Slavonic period- Urtext edition incorporating every known source- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor- Full score & parts (BA10401) available for sale

Double Bass-Dvorák’s “Slavonic Rhapsodies” Op.45 were composed in 1878 and issued by the publisher Simrock Berlin the following year. These three independent orchestral works (in D major G minor and A-flat major) were published with the same opus number and mark the beginning of his so-called Slavonic period.The “Slavonic Rhapsody” Op.45/1 in D major now appears in an Urtext edition. The editor Robert Simon has made use of the first edition authorised by the composer as the principal source of his new scholarly-critical edition.- A work marking the beginning ofDvorák’s so-called Slavonic period- Urtext edition incorporating every known source- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor- Full score & parts (BA10401) available for sale

Symphony in D major Hob. I:104-The twelve London Symphoniesâ? comprise the sublime final statement of Haydnâ??s symphonic Å?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the London Symphoniesâ? in early 1795 and is not only the concluding work but also the highlight of Haydnâ??s symphonic output overall. It firmly established the high standards of the genre for future generations of composers and probably Haydnâ??s most performed symphony to this day. This study edition adopts the musical text of the Haydn CompleteEdition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Création 26/08/2015 - Sion (Suisse) - Finale du Concours International de violon Tibor Varga - Orchestre de Chambre de Lausanne Commanditaire Concours International de violon Tibor Varga Notice Le futurisme italien fut, au début du XXe siècle, le premier véritable mouvement d'avant-garde qui, en Europe, refusa l'art dans sa totalité, décréta l'abolition du passé et prétendit rénover tous les aspects de la vie humaine en cherchant à exprimer la nature et les problèmes du monde moderne. Le mouvement fut inauguré par Marinetti en 1909, suivi un an plus tard du manifeste de la peinture futuriste signé par Giacomo Balla, Carlo Carrà, Umberto Boccioni et Luigi Russolo. La bataille futuriste, qui mobilisa le vif de l'art italien de 1910 à 1916, naquit d'une violente polémique contre la tradition figurative et la conception de l'image-spectacle. La philosophie futuriste, nourrie d'élan vital, d'utopie machiniste et d'ardeur dionysiaque entendait dynamiter la culture antiquaire de l'Italie officielle. Marinetti exalte la vitesse, le mouvement, le bruit, la guerre. Mais aussi la pulsion, la déraison, la transgression, le débridement des ambitions et des désirs humains. Le caractère novateur et visionnaire du futurisme italien fut toutefois passablement terni par ses imprécations et ses fourvoiements politiques. Laissant de côté l'orientation réactionnaire du mouvement et son esprit de clocher extrémiste, on retiendra, parmi les traits les plus originaux du futurisme pictural, la recherche de la représentation du mouvement, avant l'invention du cinéma et avant l'art cinétique. S'inspirant des séquences photographiques d'Eadward Muybridge et de la chronophotographie d'Etienne-Jules Marey, les futuristes italiens sont parvenus à un incontestable degré de réussite dans le domaine proprement plastique. Le processus du devenir est représenté comme tel, et se déploie selon des lignes de force et des formes en croissance. La couleur est également saisie dans son dynamisme, avec ses foyers et ses aires de diffusion. Dans Le mani del violinista, une huile sur toile de 1912 aujourd'hui à Londres, Giacomo Balla s'est également livré à un exercice de synesthésie, cherchant à transposer en images un processus qui fait appel à d'autres modalités sensorielles. Le geste du violoniste, le placement de l'instrument à hauteur d'épaule, les mouvements combinés de la main et du bras, l'écartement et l'échelle d'appui des doigts de la main gauche, la mise en vibration des cordes, l'élan et le rebondissement de l'archet, sa vivacité et son exactitude, tous ces facteurs qui d'ordinaire demeurent imperceptibles et indissociables sont ainsi décomposés, puis réunis et rendus en une impression unique. Les mouvements successifs de la main et les morsures d'archet se séparent selon des procédés pointillistes, puis s'assemblent en une séquence accélérée et se lient dans le même fondu qui restitue l'unité et les inflexions de la tension musculaire. Ce qui est donné à voir n'est pas une illustration réaliste ni une nomenclature des possibilités instrumentales mais un condensé des allures de l'exécution transcendante, montrant les réflexes d'une main rompue au mécanisme de son instrument. Ma propre version musicale de la toile de Giacomo Balla s'inspire des caractères de cette vision futuriste de l'art. La virtuosité même de l'instrumentiste, son habileté d'exécutant, est ici expressément représentée comme un art de l'art. La partition porte une attention aigüe à la technique spécifique de l'effet sonore, à la justesse du geste instrumental dans la dépense de l'archet et la souplesse des déplacements. La grande école des violonistes consistait à faire disparaître le manteau rugueux des aspérités naturelles de l'instrument sous une surface lisse et parfaite de sonorités épurées. Ce grand art évolue aujourd'hui sous la pression d'une esthétique contemporaine plus sensible au grain, aux effets de texture voire aux effets raboteux de l'archet. Un autre type de virtuosité se fait jour, qui intègre les coups d'archets, les accents, les sons dénaturés, dans une sorte de formalisme instrumental pris au second degré. Les interférences entre les différents modes de jeu importent plus désormais que leur intégration dans une sonorité optimale. Cet art insatiable ne recherche plus la magnificence mais l'épreuve. La partition se divise en trois grandes parties. La première est une cadence confiée au soliste, centrée sur les accords, la rythmique et les enjambements d'une articulation qui ne se plie pas aux divisions métriques de la mesure. La seconde partie est l'enfer des violonistes et met aux prises, parmi toutes les cordes de l'orchestre, des figures contrapuntiques hachées, heurtées et contrastées. La troisième partie est davantage tournée vers des études d'équilibre de sonorités, dont la cohérence est délicate à obtenir car les notes se situent dans des registres extrêmes ou paradoxaux. Le soliste est confronté à un type nouveau de virtuosité, celui des sons harmoniques - groupes d'harmoniques naturels ou artificiels. Commande du Concours International de Violon Tibor Varga Sion Valais, la partition est écrite pour l'Edition 2015 de ce Concours. L'oeuvre est dédiée à Enzo Restagno. Hugues Dufourt

London No. 7-The Symphony No. 104 in D Major is Joseph Haydn's final symphony and is known as the London symphony. It was composed and premiered by the composer in London in 1795 and consists of four movements: Adagio Allegro Andante Menuetto Allegro Trio Finale Spiritoso. It is the best-known of Haydn’s works and epitomises the classical style and structure of the symphonic form. Joseph Haydn (1732-1809) was an Austrian composer who became the figurehead of the classical movement. He formed a close and mutually respectful relationship with Mozart and later taught Beethoven but it was his compositions that left an indelible markon the musical landscape of Western Europe.