Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob.I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob.I:44 (?Mourning?, BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller?s journal ?Musikalische Nachrichten und Anmerkungen? of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag. - Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag - Orchestral parts in a large format (25.5 cm x 32.5 cm) / Date parution : 2022-11-08/ Répertoire / Orchestre

Serenade für 13 Instrumente. Par MOZART WOLFGANG AMADEUS. An announcement in the Wiener-Zeitung read: “Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. , presently in the service of His Majesty the Emperor, will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which, among other select pieces, he will present a grand work for wind-band of a quite special character, composed by Herr Mozart. ” That this was almost certainly four movements from the present Serenade in B-flat major, K. 361, is suggested by an account of the occasion published some months later, which states, “Today I heard a composition by Herr Mozart in 4 movements for wind ensemble. . . comprising 13 instruments: 4 horns, 2oboes, 2 bassoons, 2 clarinetts, 2 basset horns and a contrabass viol. . . . ” Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K. 361 is striking for its seriousness of artistic content, its length (seven movements lasting nearly an hour), and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players, not thirteen). If the work was not conceived in the first instance as a concert work, its potential as such must have been recognized early on by Mozart or Stadler. - Urtext of the New Mozart Edition - Parts (BA5331-22) and study score format 22. 5 x 16. 5cm (TP312) available for sale/ Répertoire / Partition de Poche

Par DVORAK ANTONIN. Serenade No. 1 for string orchestra, and Serenade No. 2 for winds, horns, and low strings, both composed in the late 1870s are two of Dvorak's most popular and frequently performed works. These splendid pieces embody the qualities we have come to associate with the composer's most colorful and typical music. Reproduced from early editions./ Répertoire / Orchestre

Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss (the orchestral composition Ein Heldenleben), and the theme found in Chamisso's book: Peter Schlemihl's Miraculous Story. The narration is not linear, but rather, metaphorical (in this sense, the model leans more towards Hamlet by Franz Liszt). In fact, the discourse vacillates between luxuriance (symbolising the infinite wealth of Chamisso's hero) and rarefaction, aridity (the growing psychological vacuum of this same hero). Though the language is modern, there are several references in this homage to Strauss (the use of the horns, for example) and above all, a dramaturgy based on contrast. Strauss is a composer who has always obsessed me, in particular for his orchestral hedonism. He greatly influenced Edgar Varèse, who, for me, is a constant reference. It is this composer's sonic opulence, that was, in part, my inspiration for Schlemihl./ Répertoire / Orchestre