As seen in the mind-boggling Trans-Siberian stage show! This powerful piece soars and asks to be played large. Sure-fire excitement for any holiday program! The rock rhythm section contributes to an intense and very hip musical experience. An optional part for electric guitar can be used to add interest to the performance. This arrangement includes parts appropriate for a community or professional orchestra. The bowings are those that would be expected by professional players. Instrumentation: Full orchestra, timpani (G-B-D-E), drum set, opt. electric guitar, opt. piano, opt. electric bass. (3:25) / Orchestre

Since the 1980s scholarly research into Reger has built up a picture of the diversity, complexity and variety of Reger's work and shown that the composer was the first to depart from the supposed logical evolution of music history. In the musical scene, on the other hand, ideas prevail that are clichéd and based on a small canon of works. This is now about to change.Since the beginning of the twenty-first century a thematic catalogue of the works of Max Reger and their sources has been put together in the Max-Reger-Institut Karlsruhe funded by the Deutsche Forschungsgemeinschaft. This will be a fitting addition to our series of thematic catalogues of the works of Beethoven, Brahms, Chopin and Schumann. It contains in-depth information in a readable form on the complete original works and arrangements, both published and unpublished, completed or fragmentary. Information concerning the genesis, place and state of the handwritten and printed sources are presented comprehensively and reflect the current state of research. Thus not only scholars but also performers, music lovers and concert organizers will be able to get to know Reger's neglected but in many ways surprising works.Numerous indexes will make the Reger Thematic Catalogue easy and clear to use and it has all of the prerequisites to soon become the definitive reference work for Max Reger. / Orchestre

So he too is nothing more than an ordinary man. [...] he will place himself above everyone else and become a tyrant!' is what Beethoven is said to have shouted full of rage when Napoleon had declared himself emperor, and supposedly tore the title page of Symphony No. 3 headed 'Bonaparte' to pieces. Despite his anger, however, the work was again headed 'Bonaparte' when he wanted to publish it in 1804. But it was the first edition of 1806 which finally bore the title of Sinfonia eroica. Symphony No. 3 was Beethoven's first work in which he had come to terms with his progressing deafness and left the boundaries of the musical conventions far behind. / Préface : Max Unger / Partition /

'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

Like its companions Nos. 90 and 91, Haydn's Symphony #92 in G major was written in 1789. All three symphonies were commissioned in 1788 by Prince Kraft Ernst von Oettingen-Wallerstein, who was to be granted exclusive ownership. However, Haydn first sold the works to the Parisian Masonic lodge Société Olympique and was thus unable to fulfil his obligation to send the autograph scores to the prince. The symphony received its nickname 'Oxford? in the 19th century, probably in connection with a performance that took place when Haydn received an honorary doctorate from Oxford University in 1791. / Orchestre

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

Created in 1851, 'Ride of the Valkyries' is the prelude to the third act of the music drama 'The Valkyrie'. The purely instrumental version soon found its way onto the concert stages and turned out to be a first-rate attraction. Apart from 'Treulich geführt', 'Ride of the Valkyries' probably is Wagner's most popular melody.More intimate insights, however, are given by 'Siegfried-Idyll'. In 1870, Richard Wagner came up with a rather special birthday present for his wife Cosima. He surprised her with a secretly composed orchestral work the dedication of which alludes to impressions or circumstances at the birth of their common son Siegfried. / Orchestre

Par ROSSINI GIOACHINO. Aside from The Barber Of Seville, most of Rossini's thirty-nine operas are revived only rarely today. The overtures to his operas, however, are another matter entirely. Evergreen in their appeal, many remain popular mainstays of orchestral repertoires worldwide, loved by audiences for their elegance, lively rhythms and beautiful melodies. This volume contains five of the most admired of Rossini's operatic overtures, reprinted from authoritative full-score editions. / Opéra-opérette / Répertoire / Orchestre

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. / Score

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ 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 II

La magie de Harry Potter contient des thèmes des huit films de la série Harry Potter. Les thèmes abordés sont 'Thème d'Hedwige' et 'Nimbus 2000' de Harry Potter et l'école des sorciers ', Fawkes the Phoenix' de Harry Potter et la Chambre des Secrets, 'Double Trouble' de Harry Potter et le Prisonnier d'Azkaban, 'Poudlard 'Hymne' de Harry Potter et la Coupe de Feu ', l'Armée de Dumbledore' de Harry Potter et l'Ordre du Phénix ', Harry et Hermione' de Harry Potter et le Prince de Sang-Mêlé ', Ministère de la Magie' de Harry Potter et les reliques de la mort, partie 1, 'Showdown' de Harry Potter et les reliques de la mort, partie 2, et 'Leaving Poudlard', qui est apparu à la fin des deux premiers films et le dernier. Cet arrangement est écrite pour grand orchestre, mais il est tout à fait jouable par cordes seules. (6:00) / Orchestre