Internationally renowned minimalist Philip Glass composed this Piano concerto in the traditional three-movement form. The first movement titled ‘The Vision’ is classic Glass with a steamroller quality that suggests the immensedrive and ambition the two explorers needed to draw on for their journey into the wilderness. At the beginning of the second movement the theme in the solo Indian Flute musically represents the name ‘Sacajawea’ the ShoshoneIndian mother and guide who assisted the explorers on their way for whom the movement is named.The final movement entitled ‘The Land’ is an exploration of expansiveness both of the land that was being explored but also of thegeologically expanded time over which the landscape has evolved and the great changes that followed Lewis and Clark’s journey.This concerto is designated as part of The Concerto Project recording series started by Glass in theyear 2000 currently in four volumes and including eight concerti.American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as aminimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small andlarge ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

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

Piano Concerto No. 2 for Piano and Orchestra (2009) by Poul Ruders.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal. Solo Piano part: WH31129CProgramme Note In this day and age when faced with the challenge of writing a 'Piano Concerto' e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part one has two options: either: DO or do NOT go for it wholesale exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing forone of our great young international Piano stars it would be absurd and a waste to do anything less and only 'nibble at the goodies'.However the piece is not a big clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements lastign approximately 25 minutes.The piece begins with a moderately paced opening in which the Piano gradually gathers momentum and strength beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree and the vigilant listener will observe the disparity between the two. Following a swift up-beat coda the movement stops almost in mid-breath on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is after having been joined by the Vibraphone Harp and solo Violin suddenly violated with unprecedented brutality by the rest of the orchestra which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle no hold barred ride -

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.

Par SCHUMANN ROBERT. Le nouveau Robert Schumann Edition (RSA) est conçu comme une édition historico-critique des oeuvres recueillies. Ils seront soigneusement étudiés et préparés selon des techniques musicologiques et rédactionnelles actuelles et présentés dans leur intégralité. Brouillons, des croquis et des fragments, bref, tout ce qui est parvenu à nous comme étant authentiquement par Schumann et qui, dans la plupart des cas, a été délibérément préservé par lui, seront rassemblées, évalué quant à son importance et documentés dans une forme ou une autre, dans l'édition des oeuvres complètes.C'est le but de l'édition de reproduire des textes authentiques qui - après avoir corrigé copistes, copies et d'impression des erreurs et éradiquées ajouts et autres corruptions textuelles - aborderont aussi étroitement que possible l'intention des originaux.L'édition critique formeront la base du matériel de rendement précis pour le travail de Robert Schumann./ Répertoire / Piano et Orchestre

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

Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29 2016 Cologne. Programme Note: I was born with a right hand that is not fully functional and though it never prevented me from loving playing the piano as well as I could with this physical limitation it hasobviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand but rather by a composer who can only play with the left hand. The title Left alone contains all kinds of references not only to the obvious fact that the left hand is playing alone. Left alone is divided into two large parts each consisting of three smaller movements – in effect six in total. The work was commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans

The standard edition! Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven’s five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level. Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach. • Bärenreiter Urtext edition at the cutting edge of scholarship • The standard edition for pianists, students, conductors and libraries • Attractively priced boxed set The study scores are not available separately at present. Edition no.: TP 920 ISMN: 9790006205479 Editor: Del Mar, Jonathan Language(s) of text: English, German Product format: Study score (5), Urtext edition Binding: in a slipcase Pages / Format: XIII,99/XIII,74/XV,86/XVII,98/XIX,104 S. - 23,5 x 16,7 cm

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

KV 467-Wolfgang Amadeus Mozart's concertos for Piano and Orchestra reveal the then young form in classical perfection. Among the most beautiful of them which are quite equals of his great symphonies are the works which he composed in a two year period (1784- 1786) which marks the highest peak in Mozart's instrumental writing and in his career as a virtuoso.- Urtext of the New Mozart Edition- Full score & parts (BA5317) two-Piano reduction (BA5317-90) and study score format 22.5 x 16.5cm (TP148) available for sale.