Commissioned by Chamberosity, Eric Ewazen's Trio for Horn, Violin, and Piano pays homage to Brahms' work for the same instruments. Ewazen's four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme. A mysterious first movement accumulates depth and momentum, then returns to the gentle world of the opening. The second movement is a rip-roaring scherzo, with melodies tossed between the violin and horn. The melancholy third movement features long lyric melodies, and the final movement, following an austere introduction, turns into a grand fugue, full of life and excitement. For advanced performers. / Partitions classique / Ensemble et orchestre / Musique de chambre / THEODORE PRESSER COMPANY

Couperin, François
Concerts Royaux for one or two Treble Instruments, Bass Viol, Bassoon and Harpsichord
- First separate Urtext edition of the “Concerts royaux” for chamber ensemble, based on the pioneering new edition of Book III of the “Pièces de clavecin” (BA 10846)
- Preserves essential features of the original notation as well as Couperin’s original embellishment signs
- Notes on historical performance practice, glossary, Couperin’s table of embellishments and symbols (Fr/Eng) and detailed Critical Commentary (Eng)
This edition contains Couperin’s four “Concerts royaux”, which were published in 1722 as part of Book III of his “Pièces de clavecin”. For the first time it makes these pieces, scored for chamber ensemble, separately available in an Urtext edition. It is based on the musical text of the solo harpsichord version found in the pioneering new edition of “Pièces de clavecin III” (BA 10846). The editor has painstakingly evaluated the many impressions of the original print, most of which he himself discovered in libraries throughout the world.
The preface (Fr/Eng) contains informative details on historical performance practice and on the conception of the “Concerts royaux”, which Couperin expressly intended to be performed either by solo harpsichord or with accompanying ensemble. The modern engraving preserves essential features of the original print, which largely avoids page-turns within the pieces. It thereby brings today’s players close to the special sound of this music in a fascinating way. Couperin’s table of embellishments and symbols as well as a glossary (Fr/Eng) and a detailed Critical Commentary (Eng) round off this long-overdue Urtext edition. / Partitions classique / Ensemble et orchestre / Musique de chambre / BARENREITER

Antonín Dvorák
Quintett pour piano en La majeur op. 81
Dominik Rahmer (Editeur)
Andreas Groethuysen (Doigtés)
Seules quelques œuvres majeures furent composées pour la formation de quintette avec piano – à côté des chefs-d’œuvre de Schubert, Schumann et Brahms, le Quintette de Dvorák, écrit en 1887 en fait incontestablement partie. En lui se révèle le vrai maître qui sait combiner à la cohérence formelle une riche inspiration mélodique et des rythmes captivants. Avec ses thèmes à connotation folklorique, son quintette avec piano est devenu l’une des œuvres de musique de chambre les plus populaires de Dvorák, voire même de toute la littérature romantique. Le moment est donc venu pour une édition Henle Urtext – 60 ans après la parution de l’édition tchèque des œuvres complètes, un nouveau regard sur les sources s’impose, parmi lesquelles figure bien évidemment l’autographe conservé au Musée national de Prague. / Partitions classique / Ensemble et orchestre / Musique de chambre / HENLE VERLAG

/ Partitions classique / Ensemble et orchestre / Musique de chambre / BARENREITER