Music from the last movement of the Ninth Symphony. Par BEETHOVEN LUDWIG VAN. The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823. In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. The score of this offical anthem is exclusively available from the Schott publishing house./ Répertoire / Orchestre

Op 45 No. 2. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 45 in 1878, launching his so-called 'Slavonic period'. When they were issued by the publisher Simrock the following year, these three self-contained orchestral pieces in D major, G minor and A-flat major were gathered together into a single opus. The 'Slavonic Rhapsodies' are now available in separate scholarly-critical editions and editor Robert Simon has taken the original print as the principal source, which was authorised by the composer. To complement these editions, Barenreiter now publishes study scores to each 'Slavonic Rhapsody'. / Date parution : 2019-06-20/ Répertoire / Orchestre

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.

Op. 84. Par BEETHOVEN LUDWIG VAN. Beethoven?s incidental music op. 84 was written in 1809 for a performance of Goethe?s drama ?Egmont? at the Burgtheater in Vienna. Numerous composers of the day tried their hand at writing music for the dramatic material of Goethe?s tragedy, several in collaboration with the author himself. The overture reflects the themes of the play through its expressive music, and over the last two hundred years it has become one of the most popular works by Beethoven conceived for the stage. For this new edition, Beethoven specialist Jonathan Del Mar draws on various manuscript sources including a handwritten set of parts which has never been taken into account before. Thus, numerous discrepancies such as missing notes in the flute part or unclear bowing could be clarified for the first time. / Date parution : 2022-04-05/ Répertoire / Orchestre

From The New World. Par DVORAK ANTONIN. 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 Dvorak?s hand known to have been used in a lecture he held at Columbia University shortly after the premiere 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 Dvorak?s vague instructions on the use of mutes in movement 2./ Répertoire / Orchestre

Solo for Oboe or Violin. Par BACRI NICOLAS. The title only appears frivolous to those who have lived little. With the passage of time, the seasons that pass, the differences in quantity and quality of light, of temperature and weather, become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes, incredulous and wondrous, events that we can only experience once in a lifetime: our birth, our blossoming, our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless, everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman, initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto, this time with Lisa Batiashvili, that the idea came to me for a cycle of four concertos with, each time, a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico, l’automne’, whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind, hence the ‘Concerto amoroso, le printemps’, was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years, it was quite naturally that I thought of completing this cycle for François Leleux, with winter ‘Concerto tenebroso’, created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude, with a work that reunited all four protagonsits. It was summer, the ‘Concerto luminoso’, which took on this role’./ Répertoire / Orchestre

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violon I

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Alto

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violon II

Joe Hisaishi est bien connu pour les musiques qu'il a écrites pour les films d'animation de Hayao Miyazaki Nausicaä de la vallée du vent (1984), Le Voyage de Chihiro (2001) et Le Château ambulant (2004), de même que pour les films de Takeshi Kitano Kids R / Orchestre / 304 pages / Partition

Viktor Ullmann's Der Kaiser von Atlantis based on a libretto by Peter Kien, ambiguously termed in the prologue as 'a kind of opera', was composed in the ghetto Terezín in 1943/44 and is considered one of the 'milestones of intellectual resistance' in Terezín and far beyond. The libretto takes a firm stand on the political situation in life by using the means of a mystery play. In the tradition of the Zeitoper (opera of the time) of the 1920s, Ullmann used direct quotations to assign his music the role of political commentator. / Conducteur De Poche

Par BACH JOHANN SEBASTIAN. Version of 1736 (final version) Bach ?s St. Matthew Passion passed through several stages in its progress towards its final form, stages that today cannot be completely reconstructed. It may be taken as certain that the work was performed on Good Friday 1729 in St. Thomas?s Church, Leipzig, in a version of which the copy made by Bach ?s son-in-law Johann Christoph Altnickol gives us an approximate idea. There is no earlier extant autograph score than that of the later version, which may probably be dated 1736, and on which the present edition is based. - Study score format 22. 5 x 16. 5cm - Urtext of the New Bach Edition -Full score, performance material (BA5038), vocal score (BA5038-90) and study score (TP196) available for sale/ Répertoire / Partition de Poche

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

Gymnopédie No. 3 By Erik Satie arr. Bob Phillips Full Orchestra Conductor Score

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre