Howells's second Piano Concerto was commissioned by the Royal Philharmonic Society and premiered at the Queen's Hall London on 27 April 1925. The second Piano Concerto highlights how far Howells has travelled stylistically since his first Piano Concerto of 1914 marking his mature style his courage in innovation and his sense of drama and colour in his use of orchestration.

Concerto for piano and orchestra-Piano Concerto No.25 in C major K.503.Piano Solo Flute Oboe (2) Bassoon (2) Horn (2) Trumpet (2) Kettledrum Strings.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format.The Barenreiter Urtext Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsal purposes and even conducting. TheStudy Scores are distinguished by high quality paper and binding as well as an excellent layout.In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!

Hans Abrahamsen's Concerto For Piano And Orchestra was composed in 1999 by commission for the BIT-20 Ensemble. A complex and multi-layered work opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist. I Allegro Volante e nervoso II Adagio innocente e semplice III Tempo de grandegioia IV Fluente ma tranquillo Programmenote: ???The piano concerto starts entirely as I usually start with this filigree in the piano and many simultaneous layers ??? Hans Abrahamsen has explained ???The beginning is music that could continue almost minimalistically ad infinitum. But it doesn???t. Instead it has a seizure after just thirty seconds. It literally comes to a halt!???There is no programmatic structure behind the four-movement course of the concerto but a romantically minded listener may be tempted to interpret the development from a quick stalling of the familiar through the introduction (by the lyrical second movement) of something much more ???innocent and simple??? as it says - something feminine one feels like adding - to the third movement???s flashing firework display of a scherzo which draws the curtain aside for a liberating rush of joy as life after the advent of love. However the undersigned assumes full responsibility for this interpretation.The piano soloist is the undisputed main character in the concerto and plays almost constantly in the first three movements. It is only in the fourth movement that she takes a break and listens. ???The piano stirs up an anthill??? is Hans Abrahamsen???s own description ???and it becomes almost operatic! It is as if the music is about to fall right out over the edge of the abyss at the drastic general

for Piano and Orchestra-Mozart perfected the form of the modern piano concerto which from about 1750 begins to show its affinity with sonata form in his 21 concertos for solo piano and orchestra. The D minor piano concerto K.466 is one of the few concertos which remained in concert repertoire in the years following Mozart’s death. After the resuscitation of the other concertos it remained the most popular of all Mozart’s works in this genre and there can scarcely be a pianist who has not studied it or played it in a concert.Urtext of the New Mozart EditionFull score performance material (BA4873) two-piano reduction (BA4873-90) and study score format 22.5 x 16.5cm (TP147)available for sale

Interestingly there are two different versions of Prokofiev’s second piano concerto the first written between 1912 and 1913 the second written in 1923. However during the Russian Civil War the original manuscript of the Concerto was destroyed in a fire in Prokofiev’s apartment in St. Petersburg. In 1923 he recreated the score from memory effectively composing the second edition of the work which was very different. Prokofiev wrote to a friend: I have so completely rewritten the second concerto that it might be considered the fourth (his third piano concerto having been written in the meantime).At the time of composition the concerto's wild temperamentleft some exalted whereas others were horrified by the jarring and at the time futuristic sound. Today however it is generally recognised as a masterpiece and is one of the most virtuosic works in the piano concerto repertoire.Available here is the Hawkes Pocket Score edition (No.877) of Prokoviev’s virtuosic Piano Concerto No.2 in G minor Op.16 and is ideal for study and perusal usage.

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Bach?s Harpsichord concerti extremely popular among pianists are presumably reworkings of pieces originally written for the Violin. Bach however succeeded in transferring the diverse idiosyncrasies of Violin technique to the keyboard with such ingenuity that most of today?s pianists also include these concerti in their standard repertoire. The first concerto in d minor is perhaps the most popular not least because of its jaunty outer movements and the eminently forceful solo part. Now as a prelude to a series of all of Bach?s Harpsichord concerti G. Henle Publishers presents a Piano reduction and study edition (score) of the d-minorconcerto. None other than András Schiff the outstanding Bach expert has provided fingering suggestions.