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Ludwig van Beethoven: Triple Concerto Op.56 and: Orchestra: Score
Orchestra
Dover Publications
Fantasia In C Minor Op.80 (Choral Fantasy)-This volume contains two of Beethoven...
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Fantasia In C Minor Op.80 (Choral Fantasy)-This volume contains two of Beethoven's most unusual highly innovative and original works: the Concerto in C Major Op. 56 for piano violin cello and orchestra; and the Fantasia in C Minor Op. 80 for piano chorus and orchestra.To this day the 'Triple Concerto' remains part of a rare breed in the literature--a fascinating symphonic framework of interaction between the classical orchestra and a trio of intimately interdependent soloists. The work remains a favorite vehicle of the great Beethoven specialists with numerous recordings by legendary performers.The 'Choral Fantasy' is a rarity in the Beethoven canon of ensemble music uniting thevirtuoso display of a semi-improvisational solo piano with the vocal and instrumental richness of chorus and orchestra. Said to have been composed under great time pressure the Fantasy concludes with an extensive choral setting of a text by an unknown poet: 'Schmeichelnd hold und lieblich klingen' ('Flatteringly lovely and fair are the sounds of our life?s harmonies...Accept gladly the gifts of beautiful art...').Reprinted from the authoritative Breitkopf & Härtel editions this volume offers musicians and music lovers an inexpensive high-quality full score of two exceptional works.
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Richard Strauss: Der Zweikampf [The Duel] (1884): Orchestra: Score and Parts
Orchestra
Spartan Press
o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centr...
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o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss. We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of 'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead. In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old. We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction. In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript. He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds. The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the
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No other people (BARRY GERALD)
Orchestra
[Study Score / Miniature]
Schott
for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Ray...
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for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre
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Felix Mendelssohn Bartholdy: Calm Seas And Prosperous Voyage Op.27: Score
Orchestra
[Sheet music]
Barenreiter
Bärenreiter’s critical edition of Felix Mendelssohn Bartholdy’s &ld...
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Bärenreiter’s critical edition of Felix Mendelssohn Bartholdy’s “symphonic poem” overture Calm Sea and Prosperous Voyage edited by Christopher Hogwood belongs to our series of seven overtures by the 19th century master. Calm Sea and Prosperous Voyage is known today only in the version from 1834 and our new edition offers a critical edition of this version. But unknown to modern ears is an early version with an additional 50 bars of this overture from 1828 which only survives in a manuscript copy from the composer’s estate. Bärenreiter offers for the first time the 1828 versionin score and parts followed by the 1834 version in score and parts - A must for every orchestra and library - Includes two versions back to back - Full score & parts (BA9057) available for sale
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Franz Joseph Haydn: Sinfonia Nr. 101: Orchestra: Score and Parts
Orchestra
Universal Edition
Score with lightly realised (and figured) Basso Continuo and parts (Treble Recor...
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Score with lightly realised (and figured) Basso Continuo and parts (Treble Recorder Basso Continuo)Monsieur Naudot so named on all the title pages of his works dating between 1726 and 1752 lived as a virtuoso flautist and composer in Paris where he is said to have died in 1762. The date of his birth is unknown.The Sonata in G major presented here is the fifth work found in an undated Paris manuscript. There is a suggestion that these Sonatas could also be played on the Musette or Bagpipe then a fashionable instrument in upper French circles. This Sonata is therefore a relatively rare French composition for Treble Recorder and Basso Continuo.
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Zoroastre - RCT 62 A-B Symphonies (RAMEAU JEAN-PHILIPPE)
Orchestra
[Score]
Barenreiter
Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the...
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Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre
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Felix Mendelssohn Bartholdy: Symphony No.4 In A Op.90 - Italian: Score
Orchestra
[Sheet music]
Barenreiter
In 1832 the Royal Philharmonic Society of London honoured the young German comp...
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In 1832 the Royal Philharmonic Society of London honoured the young German composer Felix Mendelssohn Bartholdy with several commissions. One of the works composed as a result was the A major symphony the ?Italian? based on Mendelssohn?s experiences in Italy in 1830 and 1831. The work was premiered in 1833 conducted by the composer.Today the Italian Symphony has a firm place in the canon of classical masterworks though at its premiere and both the following performances the work was not entirely positively received.Mendelssohn himself was unhappy with it. In 1834 he revised the last three movements but didnot complete this revision. To this day the early version of the ?Italian? is the one played everywhere whilst the revised version has remained to a large extent unknown. Bärenreiter?s critical new edition edited by Christopher Hogwood includes all the performance material for the complete version of 1833 together with the last three movements in the composer?s revised version. Conductors can now choose between the early and revised versions; the revised one includes the first movement from the early version.- A famous work for the Mendelssohn anniversary year in a new Urtext edition.- With the well-known early version and the composer?s revised version.- Includes an informative foreword in English and German.- With facsimile pages.- Full score & performance material (BA9094) available for sale.
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Franz Liszt: Wenn die letzten Sterne bleichen Opus Posthume: Voice: Score
Orchestra
G. Henle
The Bavarian State Library in Munich made a quite sensational discovery in 2007:...
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The Bavarian State Library in Munich made a quite sensational discovery in 2007: a previously unknown Lied for Voice (soprano) and Piano by Franz Liszt was found which he had written down himself. The work shows Liszt at hisbest; it was composed in 1843 and dedicated to Count Franz von Pocci from Munich. This was a good enough reason for Henle Publishers to publish the manuscript in the form of a high-quality facsimile which also contains the musicin modern music print and extensive information concerning the fascinating circumstances of its genesis. A true delight for all connoisseurs and lovers of Franz Liszt.
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