Par BORBOUDAKIS MINAS. Constellation by Minas Borboudakis is a 14-minute work for orchestra (4 Horns in F, Timpani, 3 Percussion, Strings – Sampler). 'The first version of Constellation for octet was written in 2002 when Gidon Kremer asked me to write a new piece for the sextet of the Kremerata Baltica during a series of performances of my works in his festival in Lockenhaus', says the composer. In the version for orchestra, glissandi spread out from a single note phrase by phrase. The four horns, placed stereophonically in pairs to the right and left of the conductor, create explosions of sound through repetitive lines and motivic escapades. The premiere took place on 7 January 2011 at the Tonhalle Zurich by the Tonhalle-Orchester Zurich under the baton of Constantinos Carydis. The score (EP 12575) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre

for Large Ensemble. Par BORBOUDAKIS MINAS. Z-4383 by Minas Borboudakis is a 12-minute work for large ensemble (1(=Picc).1.1(=BCl).1 – 1.1.1(=BTbn).0 – 2Perc – Acdn – Pf – Str(1.1.1.1.1 or String Orchestra) – Electronics). It describes the journey of the wagon of the same name in which the body of the politician and pacifist Grigoris Lambrakis, also called 'Z', who was murdered in 1963, was transported from Thessaloniki to Athens. In the scene from the cult novel Z by Vassilis Vassilikos, the author lets the soul of Grigoris Lammbrakis fly over the train. Train noises, distorted fragments of speech, as well as lines rising ever higher unfold in the music. Sequences expressing pain, longing, hope and despair return as wordless instrumental quotations, attempting to portray the unspeakable before the soul leaves the body at the work's conclusion. The world premiere took place on 20 July 2018 with the Academy of the Bavarian Radio Symphony Orchestra conducted by Daniel Carter. The score (EP 14315) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre

Rhapsodie. Par JANACEK LEOS. The rhapsody for orchestra “Taras Bulba” is the most important and on account of its genesis the most interesting of the three programmatic orchestral works the composer wrote between 1914 and 1920. All three of these works were responses to the contemporary social and political context: “The Fiddler’s Child” was an indictment of the state of society, “Taras Bulba” was a reaction to the international conflict of World War I, while “The Ballad of Blaník” was inspired by the birth of Czechoslovakia. “Taras Bulba” is now available in the New Conductor Score series. These completely redesigned scores stand out due to their carefully researched critical report and a highly legible, clean notation, all in the trusted Universal Edition quality./ Répertoire / Orchestre

Par DUBUGNON RICHARD. Caprice No.5 ‘Zürcher Art’ is the fifth work in a series of short orchestral concert openers by Richard Dubugnon. Written as a set of variations on a single theme, the 12-minute work was commissioned by Tonhalle-Gesellschaft Zürich AG, Sinfonieorchester Basel and Fondation du Septembee Musical Montruex-Vevey. It is dedicated to Paavo Järvi and the musicians of the Tonhalle Orchestra, who premiered the piece on 24 September 2021. The full score (EP 73612) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-03-15/ Répertoire / Orchestre

Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version. This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts. The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Par EICHBERG NILS SOREN. „Oryx and Crake“ tells the story of the only human survivor on Earth. In flash-backs, revealing only bit by bit, we must ourselves put together the pieces of the drama that lead to the apocalypse. The opera unfolds within 24 hours, beginning at dawn and finishing the next morning. Atwood’s love-triangle offers plenty of classic music drama, her dystopia is painted in complex, industrial soundscapes and the post-armageddon solitude in contemporary-contemplative open spaces. Electronics extend and augment the orchestral colours and help achieving the unreal „haunted“ atmosphere and the different reality levels of the protagonist’s memory. / Date parution : 2023-10-31/ 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