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

Hawkes Pocket Scores HPS 1468-Originally a ballet score this 30' work is scored with strings and consists of three movements:'cumnock fair': A 12-minute fantasy based on dance melodies by the 18th-century Cumnock composer John French. The moods range widely from playful rustic archaic ungainly dreamy boisterous stately brutal and grotesque to mysterious and unnerving.'shambards'': Memories of Burnsian folksong are interrupted by new dance tunes built on fragments from the Mad Scene from Act 3 of Donizetti’s Lucia di Lammermoor based on the novel by Walter Scott.'shamnation'. Low throbbing in the piano becomes a drumbeat to accompany a fast violin reel using three tunesand following a traditional 8-bar structure. The solo piano part emerges as a counterpoint to the Scottish themes after which the music winds its way through many different keys.

g-moll Op. 33 B. 63-Composed in 1876 Dvorák’s only piano concerto has been overshadowed by his other two concertos for violin and violoncello respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883 which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert vanSteijn decided instead to present the version by Karel Šolc. - New Urtext edition of Dvorák’s only piano concerto - Foreword by Dvorák scholar David R. Beveridge (Eng/Cz/Ger) - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel Šolc adapted to fit this new edition - Full score (BA10420) and two-piano reduction (BA10420-90) available for sale - Performance material (BA10420-72) available for hire

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.4 In G Op.58.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchased individually.Themusical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.2 In B-Flat Op.19.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchasedindividually.The musical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.1 In C Op.15.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchased individually.Themusical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Piano Concerto g minor op. 33-Composé rapidement puis «fignolé» avec un soin méticuleux le Concerto pour piano en sol mineur de Dvorák est l?une des ?uvres majeures de la littérature pour piano tchèque. Le compositeur l?écrit en 1876 en deux mois à peine mais son travail de finition s?étend sur sept ans jusqu?au premier tirage. Rien d?étonnant donc à ce que la partition manuscrite de Dvorák soit surchargée de modifications et de corrections. Son autographe de 141 pages reflète de façon frappante ce travail de composition extraordinairement complexe: outre la notation initiale en effet il renferme diverses corrections effectuées au crayon au crayon rouge et bleu ou encore à l?encre rouge- en outre quelques passages sont recouverts d?une nouvelle version.La partition se trouvait jusqu?en 1990 en possession des héritiers de Dvorák. À l?instigation du pianiste András Schiff et grâce à son généreux appui financier nous présentons pour la première fois sous la forme d?une reproduction de grande qualité comparable dans les moindres détails à l?original le fac-similé complet de ce document musical. Il invite à découvrir et à revivre les différentes étapes du processus de composition. Et qui plus est c?est un cadeau idéal pour 2004 l?«année Dvorák» (? mais aussi bien sûr pour après ?).