This authoritative edition presents full-score reproductions of three of Liszt’s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer’s unpublished choral setting of Joseph Autran’s poem “The Four Elements”, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo’s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: “He runs, he flies, he falls, and he stands up king!” Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement “transformation of themes,” an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt’s expanding chromaticism would be no less influential, anticipating the twentieth century’s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.

Mozart, Wolfgang Amadeus La clemenza di Tito K. 621 Facsimile of Mozart's autograph score The Seven Great Operas in Facsimile Editions of Mozart?s Autograph Scores ?Idomeneo?, ?Die Entführung aus dem Serail?, ?Le nozze di Figaro?, ?Don Giovanni?, ? Così fan tutte ?, ?Die Zauberflöte ?, ?La clemenza di Tito? ? Mozart?s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart?s manuscript. The Packard Humanities Institute (PHI, Los Altos , California ) has now embarked on producing a facsimile edition of the seven autograph scores. Mozart scholars, libraries and of course all lovers of Mozart?s stage works now have the opportunity of acquiring these priceless manuscripts in flawless reproductions. At the same time, all risks about preserving Mozart?s legacy for the world of music are taken care of. The Packard Humanities Institute (PHI) charitable foundation, known for its philanthropic programmes in the arts and sciences, has forged an ideal cooperation for the Mozart project. Under the scholarly direction of an editorial board (Ulrich Konrad , David Packard, Wolfgang Rehm , Christoph Wolff; General editor Dietrich Berke) the International Mozarteum Foundation Salzburg and the libraries where Mozart?s manuscripts are held are working together with the Packard Humanities Institute. The production of the volumes is exquisite, for the digitalization of the manuscripts has been undertaken using the latest technology, which allows for an astounding level of authenticity and precision in detail. The printing follows the uncompromisingly high standards demanded by the edition. All seven volumes include essays on the history of literature and ideas by Hendrik Birus , Hans Joachim Kreutzer and Robert Miller as well as musicological introductions by leading Mozart scholars in German and English. The facsimile edition will be distributed by Bärenreiter- Verlag . - consolidation of Mozart manuscripts held in different places - highest level of precision in reproduction and authenticity of colour through use of the latest technology - unique offer thanks to project sponsorship by the Packard Humanities Institute (Los Altos, California) Precision in reproduction thanks to cutting edge technology In preparing the manuscripts for reproduction, equipment was used in line with the highest technical standards currently available. Mozart?s original manuscripts of the seven operas are held by several libraries. For five of the operas, the different acts have even ended up in different libraries following World War II. Thus, the autograph of Act I of ? Così fan tutte ? is in the Jagiellonian Library in Kraków and the second act in the Staatsbibliothek zu Berlin ? Preußischer Kulturbesitz . In order to achieve a uniformly high level of precision in reproduction and authenticity of colour both within a work and for all seven editions, the use of the same technical equipment in all the different places was a prerequisite. Specialist from the Salzburg firm ? Kirchberger Photography? were employed, were provided with the latest equipment by the Packard Humanities Institute and also given special additional training in the modern technology by specialists in the USA. Proofs of each edition were compared with the original in each location and improved until the likeness could not be bettered in all details. Mozart?s music and text notation is reproduced extremely clearly, and even those places where Mozart corrected or had rubbed out marks he had already made, appear in these editions in a previously unmatched transparency.

Par JOSEF STOIBER FRANZ. This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly. Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scalechoral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn ”. The complete performance material for several “Sturm und Drang” symphonies and all of the London and Paris symphonies is now available from Bärenreiter. Based on the Henle Complete Edition of the “Works of Joseph Haydn ” Orchestral parts in a large format (25. 5 cm x 32. 5 cm) Full score & performance material available for sale (BA10980)/ Répertoire / Orchestre

Full Score. Par BERLIOZ HECTOR. Hector Berlioz (1803–1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries — Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven — Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called 'program music' — i. e. , instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these 'program' pieces: the Symphonie Fantastique (1830) and Harold in Italy (1834). Here are the full scores of both major symphonic works — painstakingly reproduced from the authoritative Breitkopf & Härtel edition, available for the first time in one convenient volume — plus Berlioz's 'program' for the Symphonie Fantastique. Musicians and music lovers everywhere will value this high-quality, inexpensive edition — ideal for study and performance. Reprint of Nos. 1 and 3 of Serie I, Symphonien (1900), of Werke von Hector Berlioz, Breitkopf and Härtel, Leipzig, 1900–1910. Breitkopf & Hartel edition./ Répertoire / Orchestre

Par DVORAK ANTONIN. This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny. Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus Wihan but Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger)/ Répertoire / Violoncelle et Orchestre

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication, Del Mar's edition enjoys the unabashed praise of conductors, performers and critics alike and has become the most widely used publication of the Beethoven Symphonies which can be heard not only every day in concert halls, but also on CD recordings by John Eliot Gardiner, David Zinman, Jos van Immerseel and Claudio Abbado. - A new reference set of Beethoven?s Symphonies for students, conductors and libraries Edition no.: BA 9000 ISMN: 9790006540952 Editor: Del Mar, Jonathan Language(s) of text: German, English Product format: Score, Anthology, Urtext edition Includes the following individual parts: Orchestra Binding: in a slipcase Pages / Format: 1186 S. - 32,2 x 25,0 cm

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

Dvorák, Antonín
Symphony no. 9 in E minor op. 95 New World
- Groundbreaking Urtext edition taking new sources into consideration
- Offers solutions for controversial musical questions
- With an informative Foreword (Eng/Cz/Ger) and a detailed Critical Commentary (Eng)
The ?New World? Symphony, a jewel of the symphonic repertoire, is finally available in a dependable scholarly-critical edition.
Yet again Jonathan Del Mar has managed to untangle a complex network of surviving sources, some of which have never been taken into account before. Among them are several musical examples in Dvorák?s hand known to have been used in a lecture he held at Columbia University shortly after the première given by the New York Philharmonic under the baton of Anton Seidl.
Del Mar thus sheds light, for example, on the frequently debated rhythm of the horn entrance in measure 4 of the opening movement and illuminates Dvorák?s vague instructions on the use of mutes in movement 2. / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

Par SCHUBERT FRANZ. The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent. The eight symphonies trace Schubert's artistic evolution from the First Symphony, which develops a theme from Beethoven's Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth. Full score, performance material and study score for all symphonies are available for sale. Symphony No. 1 in D major D 82 (BA5601, TP401) Symphony No. 2 in B-flat major D 125 (BA5602, TP402) Symphony No. 3 in D major D 200 (BA5603, TP403) SymphonyNo. 4 in C minor D 417 Tragic (BA5604, TP404) Symphony No. 5 in B-flat major D 485 (BA5645, TP405) Symphony No. 6 in C major D 589 (BA5646, TP406) Symphony No. 7 in B minor D 759 Unfinished (BA5647, TP407) Symphony No. 8 in C major D 944 The Great (BA5648, TP408)/ Répertoire / Orchestre

D 944. Par SCHUBERT FRANZ. The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent. The eight symphonies trace Schubert 's artistic evolution from the First Symphony, which develops a theme from Beethoven's Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth. Full score, performance material and study score for all symphonies are available for sale. Symphony No. 1 in D major D 82 (BA5601, TP401) Symphony No. 2 in B-flat major D 125 (BA5602, TP402) Symphony No. 3 in D major D 200 (BA5603, TP403) Symphony No. 4 in C minor D 417 Tragic (BA5604, TP404) Symphony No. 5 in B-flat major D 485 (BA5645, TP405) Symphony No. 6 in C major D 589 (BA5646, TP406) Symphony No. 7 in B minor D 759 Unfinished (BA5647, TP407) Symphony No. 8 in C major D 944 The Great (BA5648, TP408)/ Répertoire / Orchestre

Par SCHUBERT FRANZ. The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent. The eight symphonies trace Schubert's artistic evolution from the First Symphony, which develops a theme from Beethoven's Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth. Full score, performance material and study score for all symphonies are available for sale. Symphony No. 1 in D major D 82 (BA5601, TP401) Symphony No. 2 in B-flat major D 125 (BA5602, TP402) Symphony No. 3 in D major D 200 (BA5603, TP403) Symphony No. 4 in C minor D 417 Tragic (BA5604, TP404) Symphony No. 5 in B-flat major D 485 (BA5645, TP405) Symphony No. 6 in C major D 589 (BA5646, TP406) Symphony No. 7 in B minor D 759 Unfinished (BA5647, TP407) Symphony No. 8 in C major D 944 The Great (BA5648, TP408)/ Répertoire / Orchestre

Tragic. Par SCHUBERT FRANZ. The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent. The eight symphonies trace Schubert 's artistic evolution from the First Symphony, which develops a theme from Beethoven's Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth. Full score, performance material and study score for all symphonies are available for sale. Symphony No. 1 in D major D 82 (BA5601, TP401) Symphony No. 2 in B-flat major D 125 (BA5602, TP402) Symphony No. 3 in D major D 200 (BA5603, TP403) Symphony No. 4 in C minor D 417 Tragic (BA5604, TP404) Symphony No. 5 in B-flat major D 485 (BA5645, TP405) Symphony No. 6 in C major D 589 (BA5646, TP406) Symphony No. 7 in B minor D 759 Unfinished (BA5647, TP407) Symphony No. 8 in C major D 944 The Great (BA5648, TP408)/ Répertoire / Orchestre

Par SCHUBERT FRANZ. The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent. The eight symphonies trace Schubert 's artistic evolution from the First Symphony, which develops a theme from Beethoven's Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth. Full score, performance material and study score for all symphonies are available for sale. Symphony No. 1 in D major D 82 (BA5601, TP401) Symphony No. 2 in B-flat major D 125 (BA5602, TP402) Symphony No. 3 in D major D 200 (BA5603, TP403) Symphony No. 4 in C minor D 417 Tragic (BA5604, TP404) Symphony No. 5 in B-flat major D 485 (BA5645, TP405) Symphony No. 6 in C major D 589 (BA5646, TP406) Symphony No. 7 in B minor D 759 Unfinished (BA5647, TP407) Symphony No. 8 in C major D 944 The Great (BA5648, TP408)/ 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