Rhapsody for Alto Saxophone and Orchestra-Debussy’s Rhapsody was commissioned by the wealthy amateur Elise Hall who paid the composer a considerable sum in advance. Yet work on it was not easy; following his death all that existed was a finished orchestral sketch ashort score. Debussy’s friend Jean Roger-Ducasse undertook versions for piano and orchestra based on the sole authentic source. Ever since its first performance in Paris in 1919 both of these versions of the work have formed partof the saxophone's core repertoire. Our study score contains the first transcription of the autograph in printed form. It is a valuable addition to our Urtext edition for practical music making (HN989).

für zwei Hörner zwei Violinen Viola und Bass-It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture demand declined for buoyant serenades and divertimenti intended for courtcircles a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind his Sextet op. 81b is thus all the more remarkable standing out on account of the unusual virtuosity of the hornparts. This edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat it also contains transposed parts in F.

One of the most popular of all violin concerti, this baroque masterpiece of program music was composed as a musical illustration of four sonnets. Painstakingly researched by baroque authority Dr. Eleanor Selfridge-Field, this miniature score edition offers a modern, authoritative, and up-to-date edition that incorporates Vivaldi's Italian descriptive notes directly in the music.