for Piano and Orchestra-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.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.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Clara Wieck’s sincerest wish was that her future husband Robert Schumann turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839 just one year before her marriage she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score including the A Minor Piano Concerto one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music diverting substantially from the classic models of the day and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor Op. 54 (published 1846) Concertstück Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians music lovers and students as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at

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

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’s Piano Concerto In C Minor K.491 is one of his best-known works in the genre not least because of the special character of its minor key (rarely encountered in Mozart’s music) and the dramatic contrast between the soloist and Orchestra.

Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.4 In G Op.58.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchased individually.Themusical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Very few musicians are aware of the fact that Beethoven arranged his Violin concerto also as a Piano Concerto. It is only recently that some pianists have discovered this truly rewarding work.Clementi the London composer and publisher had heard about the première of the Violin concerto and probably sensed its potential. He asked Beethoven for a Piano version which was actually also published in 1808 at thesame time as the original. Several important cadenzas had been especially composed for it; the one for the first movement is accompanied by the Timpani a unique and original touch! Our edition (Piano reduction and study score)contains the text from the recently published volume in the Complete Edition of Beethoven’s Works.

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Concerto for Piano (Harpsichord) and Orchestra F major Hob. XVIII:3 écrite et composée pour Violon et plus précisément pour Violon 2 vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Violon 2 / Chanson En Séparée

Brahms wrote only two concerti in his lifetime each one an important staple of the concert repertoire. These masterpieces are featured here in full score in one convenient affordable volume. Pianists conductors music students and scholars will find this edition ideal for study and performance purposes.