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

Genesys Fanfare was written for and performed by the members of the Brass and Percussion sections of the Flint Symphony Orchestra. Later the work was rescored for full orchestra and ultimately for concert band in this present arrangement. This band version was first performed in 2016 by the combined Wind Ensembles of Texas Lutheran University conducted by Beth Bronk. The musical ideas for this fanfare are straightforward - the theme is a rhythmic representation of the name of the institution that commissioned the piece - Genesys Hospital. The asymmetrical repetition of the spoken rhythm however yields a refreshingly compelling pulse which drives the music all the waythrough.

Full Score-Eugene Onegin the most popular of Tchaikovsky's operas is widely considered a theatrical masterpiece. Adapted from a novel in verse form by Aleksandr Pushkin it is the tale of a jaded Russian aristocrat who scorns the love of Tatyana an attractive young girl of the provincial petty nobility. After years of aimless wandering Onegin returns to St. Petersburg to find Tatyana much changed and married to a prince. Onegin falls in love but this time she rejects him in favour of marital fidelity. Full lyrics in Russian.

Symphony No.14 'Morgenen' ('The Morning') by Rued Langggard (1847-48/1951) BVN 336. Text: St. Matthew & Rued Langgaard Instrumentation: Mixed Choir 3.2.2.2/4.3.3.1/timp/2 perc/org/str. Critical Edition by Bendt Viinholt Nielsen - The Rued Langgaard Edition. Parts are for hire: hire@ewh.dk

A Dance-Concerto for Orchestra.Published in 2006.Commissioned with funds generously provided by the Ida Carroll Trust.Study Score.

Everyone remembers the tune by its subtitle 'Going Home'. This lush song is creatively scored with your intermediate orchestra in mind. Although there appear to be some exposed woodwind passages in this familiar melody they are generously cross-cued so that the work is playable solely with strings and piano. A very warm rendition to be cherished for years to come. (5:35)

In Tchaikovsky's symphonic output his Symphony No. 4 was a pivotal work. It announced the composer as a major symphonist of his time overshadowing his previous less-than-distinguished efforts in this form and opened the way to his last major works: the haunting Fifth Symphony and the biographical Sixth the profound 'Pathétique.'Tchaikovsky's Fourth Symphony ? written in 1877 at the age of thirty-seven ? offers itself as an intensely personal statement. Dramatically shaped and brilliantly orchestrated it captures a theatrical quality and orchestral color that shaped the composer's symphonic fantasy Francesca da Rimini written just a year earlier. The Fourth opensunequivocally with the thrust of a brass fanfare ? the 'fate' motive that is to reappear in the last movement ? then flows with the effortless quality that characterizes Tchaikovsky's great generously melodious ballet scores. The second movement lingers over one of the composer's most poignant melodies and the third ? the Scherzo ? offers a delightful fantasy from this master orchestrator: the charming Pizzicato ostinato a unique moment in the entire orchestral literature.The symphony is reproduced here from the authoritative Breitkopf & Härtel edition with bar-numbered movements and ample margins at the bottom of each score page for notes and analysis. Ideal for study in the classroom at home or in the concert hall this affordable high quality conveniently sized volume will be the edition of choice for music students and music lovers alike.Reprint of the Breitkopf & Härtel edition.

“Eine kleine Nachtmusik” “... written with ease, but skillfully refined” “Eine kleine NachtMusick” is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. It was written without any known incentive or commission during the time that Mozart was composing “Don Giovanni”, a time when he was celebrating his greatest success as an opera composer. The work is one of the jewels of Mozart’s output, combining bright radiance and a natural simplicity with brilliant refinement. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart’s original. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. These pages – in high-quality colour printing, each trimmed individually – are presented in a handsome box. This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. “The fact that it’s all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.” (Wolfgang Hildesheimer) BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: - a facsimile in high-quality colour printing - scholarly commentary •Facsimile of the autograph score KV 525 •Introduction: •I. 1787: The work. Its background, genesis, significance and impact •II. The Autograph. Its clear, its twisted paths •Notes and References •Einführung: •I. 1787: Das Werk. Sein Umfeld, seine Entstehung, Bedeutung und Wirkung •II. Das Autograph. Seine eindeutigen, seine verschlungenen Pfade •Anmerkungen •Watermark No. 55 •Facsimile of the autograph fragment KV 525a Edition no.: BVK 2282 ISBN: 9783761822821 Volume / Series: Documenta musicologica II/46 / Bärenreiter Facsimile Editor: Rehm, Wolfgang Language(s) of work: German, English Product format: Facsimile Binding: in a case Pages / Format: 38 S. - 25,4 x 34,0 cm

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre

With Critical Report. Par BARTOK BELA. The Béla Bartók Complete Critical Edition is a joint project of G. Henle Publishers, Munich and Edition Musica Budapest. The volume at hand was edited by Klára Móricz. By publishing Concerto for Orchestra the score for one of Bartók’s truly importantorchestra works is now available. The well readable introduction describes the genesis of this work that Bartók wrote during the last part of his life under special circumstances. The critical commentary contains documents the process of compositionin detail, and also transcriptions of the extensive sketches. / Móricz, Klára / Répertoire / Orchestre

The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. Each volume is clearly-presented with authoritative scores, informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra.NEW: This box-set of 25 masterpieces in a handy slipcase containing volumes 51-75 in the series is amazing value: almost 50% cheaper than buying each volume separately!This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focusing on the fields of opera, orchestral music, chamber music and vocal music, it is the favoured by conductors, orchestral musicians, soloists, students, teachers and music-lovers generally. The more you read, the more you hear! / Tout Instrument

Rhapsodie. Par JANACEK LEOS. The rhapsody for orchestra “Taras Bulba” is the most important and on account of its genesis the most interesting of the three programmatic orchestral works the composer wrote between 1914 and 1920. All three of these works were responses to the contemporary social and political context: “The Fiddler’s Child” was an indictment of the state of society, “Taras Bulba” was a reaction to the international conflict of World War I, while “The Ballad of Blaník” was inspired by the birth of Czechoslovakia. “Taras Bulba” is now available in the New Conductor Score series. These completely redesigned scores stand out due to their carefully researched critical report and a highly legible, clean notation, all in the trusted Universal Edition quality./ Répertoire / Orchestre

Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of the ?Leonore? overtures- Based on the G. Henle Complete Edition of the ?Works of Ludwig van Beethoven?- Orchestral parts in an enlarged format (25.5 cm x 32.5 cm)Of the four overtures that Beethoven composed for his only opera, the ?Leonore Overture? No. 3 is the most popular. The first reviewer found fault with it for its ?incessant dissonances and overblown fluttering of the violins? (Wiener Theater-Zeitung, 1806), but it soon became famous as ?one of the most imposing, difficult, yet richest and strangest of compositions? (Allgemeine Musikalische Zeitung, 1810). This version of the ?Leonore Overture? quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various ?Leonore Overture? versions, in particular the question whether the trumpet call in measures 272?277 and 294?299 should be played by one or two instruments. The edition is based on the Complete Edition of the ?Works of Ludwig van Beethoven? issued by the G. Henle publishing company. / Grand format / Barenreiter

Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.

Four of Britten's most popular works including The Young Persons Guide to the Orchestra. Now published in The Masterworks Library with introductory notes illustrations and photographs. Ideal for students conductors performers libraries and general music enthusiasts. Contains: Young Person's Guide to the Orchestra Matinees Musicales Soirees Musicales & The Courtly Dances from Gloriana.