Oper In Drei Bildern-This masterpiece composed by Erich Wolfgang Korngold when he was only 23 was one of the great stage successes of the 1920s and 30s before being removed from theatre schedules by the National Socialists. Rediscovered in the 1970s it has enjoyed continuing popularity ever since. The libretto was compiled by the composer?s father the music critic Julius Korngold writing under the pseudonym ?Paul Schott? a combination of the name of the protagonist and the publishing house. A vivacious theatre group comes to liven up the gloomy city of Bruges (here a symbol of death) and the widower Paul is forced to decide between the past and the present.Korngold was fascinated by this symbolic plot and created an iridescent orchestral score washed in vivid colours. A variety of operatic devices are intermingled as if viewed through a kaleidoscope: opulent melodic arias advanced harmonies psychoanalytic profundity and cinematic transitions oscillating between reality and dream worlds guarantee the continuing modernity of this work up to the present day.

Pour célébrer le 80e anniversaire de ce compositeur tchèque-American respecté, Schott est la publication de cette note d'étude de l'une de ses nombreuses oeuvres orchestrales. Husa, né à Prag, obtient une bourse pour étudier avec Arthur Honegger et Nadia Boulanger au Conservatoire de Paris et plus tard est devenu professeur de composition et de procéder à l'Université Cornell, New York. ' Mosaïques ' a pris naissance au cours d'une période quand la musique de Husa a été influencée par le néoclassicisme de Honegger et Stravinsky mais contenait également des éléments folkloriques que l'on trouve dans les oeuvres de Janácek et Bartók. / Orchestre

The idea of a violin concerto came from Stravinsky‘s publisher at the time Willy Strecker from Schott and violinist Samuel Dushkin. Stravinsky even noted in his autobiography that the availability of advice from Dushkin‘s was a factor in writing the piece. He also sought the opinions of composer and violinist Paul Hindemith who reassured Stravinsky about his concerns with writing for an instrument he was unfamiliar with. The help he received may have helped Stravinsky discover new possibilities for the instrument.

Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra more than fifty years ago the piece still captivates every listener with its youthful carefree liveliness. Virtuoso and witty it does justice to its title in every respect. It was created in 1957 upon commission of the Kleines Unterhaltungsorchester Südwestfunk Baden-Baden. The solo part of the four-minute concert piece with the tempo indication 'allegro molto' was tailor-made by Hummel for the orchestra's principal bassoonist Helmut Böker.In addition to the hire material a piano score with solo part is now available on sale.

Orchester-Rezitation nach der Dichtung von StEphane MallarmE Edition : vocal/piano score Instrumentation : orchestra Date of Composition: 1944 Duration : 25' Date of Publications : 17/05/1978 Number of Pages : 24

New Version 1994-Symphony No. 6 was created in the late 1960s and was first performed in Havana on 26. November 1969 by the Cuban National Orchestra under my direction. This symphony reflects not only the excited atmosphere of awakening during those years but also my efforts to include in the composition the large number of new human and artistic stimuli that I experienced at that time. So the banjo starts to play a Vietnamese song of freedom (Stars in the Night) later the first bars of Mikis Theodorakis hymn of freedom is heard.The second movement is based on the poem Fe de erratas (errata sheet) by Miguel Barnet. In the original version the three parts of the symphony merge withoutinterruption. In the revised version I separated them to make it easier for the audience to register the caesuras which are also internal caesuras as regards content. Apart from strengthening the string sound the most significant alternation in comparison to the first version is that I fully composed all of the aleatoric passages and pitches which originally were to be freely improvised as was the fashion at that time. Thus I wanted to free them the realm of chance and indeterminacy and to bring them back into my artistic control.- Hans Werner Henze

The Enchanted Forest. Par HENZE HANS WERNER. This music is taken from the second act of my early opera King Stag. In the original, the aria - here rescored for the orchestra alone - is sung by the protagonist (tenor) who yearns to return to the woods, to nature, to the origins of his animal existence. The rondo is set in a very fast dance tempo (a Tarantella?) and is in three parts: the first one is cheerful and comic, the second one lyrical, almost romantically so, whereas the third one is impetuous and dramatic. The music of both pieces has been considerably rewritten and altered, in harmonic, melodic and rhythmic aspects. - Hans Werner Henze/ Répertoire / Orchestre

for large orchestra divided into three groups. Par CZERNOWIN CHAYA. The Quiet originated from watching a snowstorm from my window at night as the flakes danced in the weak light of the lamp outside. The desire to make the storm audible was the starting point for a journey which morphed into many different other strange, close, and distant storms. These storms constantly evolved from natural occurances into far away atmospheres surrounding human activity, before returning to natural realms. (Chaya Czernowin)/ Répertoire / Orchestre