Dvo ák?s Serenade In E Major for String Orchestra is one of his most popular and frequently played works. It was written in the spring of 1875 when he had just experienced his first successes at the conductor?s podium and had received a state arts scholarship. The score and parts were published by Bote & Bock Berlin in 1879.This Urtext edition is based on the composer?s autograph score. It corrects mistakes found in the first edition and so for the first time the editor incorporates omitted passages from the autograph marking them with Vi-de. This reconstruction makes it possible to clarify the piece?s structure. The author of theForeword Kate ina Nová is head of the Dvo ák Museum in Prague.Detailed Foreword by Kate ina Nová (Cz/Eng/Ger) and Critical Commentary by the editor (Eng)Including Vi-de passages from the autograph scoreFull score & parts (BA10423) available for sale

The two existing manuscripts (1915 and 1926) of these extracts 'arranged' by Falla himself correspond to the very beginning and end of a long period during which El Amor Brujo can be seen in a series of different states.They demonstrate the care which the composer generally brought to the task of instrumentation and more particularly the aptness and validity of this piece in his own eyes as chamber music. It is clear that Falla's art oforchestration (and notably his feeling for instrumental idiom) gives his score a profound sense of balance. Score. Piano player reads from full score string parts available separately.

The melodic excitement verve and stimulating rhythms in Praetorius's music portray the 'Spirit of The Dance' during the 16th and 17th Centuries. It inspired rejoicing jollity and energy. Michael Praetorius was one of a number of 16th and 17th century German musicians to use the latinised form of his name; his real name was Michael Schultz. He was a prolific composer and was much in demand by the nobility of the period to compose for dancing at the courts of Dukes. Terpsichore is the name of the Greek Muse of Dancing and Praetorius used this name as the title of his French Dances commissioned by the Duke of Brunswick and Lueneburg. Some of the tunes were obtained from theFrench Dance Masters and musicians who were in service at the court of the Duke to instruct students in the art of dancing. Other tunes he composed.