reconstructed by Philip Wilby-This reconstruction of the Concerto in D K.315f was first performed on 15th August 1985 at the Dartington Hall Summer School of Music by Ernst Kovacic (Violin) and Bernard Roberts (Piano) with the Dartington Chamber Orchestraconducted by Diego Masson. This is the Study Score. Instrumentation includes SOLO VIOLIN; SOLO PIANO; 2 FLUTES; 2 OBOES; 2 HORNS IN D AND G; 2 TRUMPETS; TIMPANI; STRINGS.The duration of this work is 25 minutes. Full score solo and orchestral parts are available on hire from the publishers.

The Concerto for Clarinet Violoncello and Chamber Orchestra is an alternative scoring of the originalConcerto for Clarinet and Viola Op. 91.

This concerto a new addition to the literature for guitar and orchestra casts the guitar almost as a member of the percussion family from the very beginning explosive in its energy easing into song for its secondtheme.An extensive cadenza takes the soloist to the highest note before plunging into an appropriately hectic ending. A simple (but all the more telling) guitar solo opens and closes the middle movement a nocturne withanother extended cadenza. The movement starts in meditation grows into a broad chorale-like melody and moves into rage before the orchestra intervenes to return to the calm of the beginning. The boisterous and carefree flavourof the last movement sketched while on holiday in Antigua during Carnival gives the concerto its nickname.This riotous and exuberant finale generates an irresistible rumba bringing together themes first heard at thevery beginning of the work particularly the rasqueado strumming and the tamburo percussive effects. The moods and flavour of the Caribbean are very acutely captured not in a tourist photograph but in an obviously loving spiritual portrait.????????????Eduardo?Fern?ndezThe Guitar Concerto ?Caribbean? has been recorded by Eduardo Fern?ndez withthe English Chamber Orchestra conducted by Barry Wordsworth.

The title Par-feshani-ye 'Eshq translates in English to The Fluttering Wings Of Love and was taken from a text by the 18th century Sufi poet Bidel. Each brief movement takes a couplet from the poem as inspiration drawing on an extraordinary array of images of clay pots on waterwheels a nightingale?s fluttering wings weighty fetters links and the world?s garden roses. The work is dedicated to friends Renée Reznek and Bruce Wannell. Bruce introduced Harrison to the poetry of Bidel and Renée had the privilege of performing the piece on its premiere performance.Australian born freelancecomposer and performer Sadie Harrison?s unique fusion of elements from indigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege work with Harrison so far. Performances of Harrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus Chamber Orchestra and many others.

Two Songs: The Colour And All In Green was expertly composed in 1997 by Sadie Harrison. This piece was first performed for the BMIC Cutting Edge Series in November 2004 at The Warehouse London by Sarah Leonard and Jonathan Powell.Australian born freelance composer and performer Sadie Harrison’s unique fusion of elements from indigenous Lithuanian music and poetry withher own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working along side a long list of well accomplishedmusicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege work with Harrison so far. Performances ofHarrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus Chamber Orchestra and manyothers.

Music Minus One Piano Deluxe 2-CD Set-Composed in 1748 this gorgeous and increasingly popular piece demonstrates the brilliance of Carl Philipp Emanuel Bach. It transcends its late baroque/early classical timeframe and is pervaded by a pensive quality and even a predisposition toward a romantic sensibility. Highly recommended and not of excessive difficulty (includes music with difficulty levels 3-7). Includes an authoritative newly engraved music score on high-quality ivory paper a digital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist and a second performance minus you the soloist and a second compact disc containing a full-speed version of the completeversion as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience. Performed by Romeo Smilkov piano The Plovdiv Chamber Orchestra Nayden Todorov conductor

Music Minus One Piano Deluxe 2-CD Set-Here is Mozart's first large-scale concerto for keyboard and orchestra written in 1773. Ironically this 'first' concerto was his greatest hit during his life. It shows that the 'little genius' even at age seventeen had learned the art of combining beautiful and lasting music with something that the crowds would eat up like candy. It is quite simply a big crowd-pleaser and you cannot help but be swept away by its joy and magic. The Rondo with Variations KV382 was written years later as an alternate Rondo for the KV175 concerto and may be also be performed on its own as a concert-piece. Perfect for intermediate-level pianists. Includes Mozart's own cadenzas. This deluxe newlyexpanded 2CD set includes a 2nd compact disc containing a slow-tempo practice version of the accompaniment to help you as you learn the piece. Includes an authoritative newly engraved music score printed on high-quality ivory paper and a compact disc containing a complete reference recording in digital stereo with soloist followed by a second version in digital stereo of the orchestral accompaniment minus the soloist and a second compact disc containing a full-speed version of the complete version followed by a -20% slow-tempo version of the accompaniment for practice purposes. Performed by Sung-Suk Kang piano Accompaniment: Plovdiv Chamber Orchestra Conductor: Nayden Todorov

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

Music Minus One Piano-This inspired concerto is a strikingly original work combining beautiful melody and a capricious third movement that was very ahead of its time. A charming delightful work to be enjoyed by pianists everywhere! Includes a complete high-quality printed music score and a digital stereo compact disc containing a complete version with soloist then a second performance of the orchestral accompaniment minus you the soloist. Performed by Bruce Levy piano Accompaniment: Plovdiv Chamber Orchestra Conductor: Nayden Todorov

Arr. Priestley B. Par VINE CARL. The term 'Canzona' is used here in it's broadest possible sense as a 'song for instruments'. As the simplest of starting points the chamber orchestra is viewed as a collection of 'singing' instruments presented either in melody or in a complex counterpoint./ Recueil / Piano

British TV série Downton Abbey est devenue l'une des émissions télévisées les plus regardées dans le monde. Cette expansion de 16 pages édition de partitions est une belle interprétation piano solo de la version élargie 'suite' du thème principal obsédante du compositeur John Lunn, qui se retrouve sur l'album de la bande sonore officielle de l'émission. Les pianistes et leur public seront ravis de cet arrangement, qui traduit toute la beauté, le désir, et la tension de son enregistrement original par le Chamber Orchestra of London. / Piano

Par VINE CARL. Composed for Emmanuel Pahud and the Australian Chamber Orchestra, this mesmerizing 14-minute concerto for flute and strings from 2003 has also been recorded by Sharon Bezaly on BIS. Pipe Dreams follows one of Vine’s preferred architectures: a single movement with three sections in the classic ‘moderate-slow-fast’ form. Although the solo lines are unashamedly virtuosic, the composer states that his intention was ‘not to dazzle but to explore as much dreaminess as possible, filtered through the wilfulness of a metal pipe which believes it has no limits’. ‘A haunting central passage provided a satisfying emotional counterweight to the scintillating brilliance of the outer sections.’ The Australian (Murray Black), 19 October 2009 / Instrumental Music / Répertoire / Flûte Traversière et Piano

Piano Solo-'3 Epigrams' (1963) came into existence following my piece for chamber orchestra 'Chronos' (1962). My purpose with these pieces (and others of the same period) was to explore the sound experiences of serialism in space and time but without using the original and fundamental substance of serialism - the tone row. The chromatic space was constituted by four identical and complementary tone columns (established by transposition). The time was divided into 25 different sizes plasticly conceived and graphically notated. These distances were then divided in 25 new distances in the same proportions etc ... into smaller and smaller durations completely hierarchally carried through.This time division 'rhythm' de-termines the gradual or sudden shifts from one tone column to another.The 3 Epigrams became a little play of my own with this material and the work is therefore quite clear to read and easy to play - a kind of bagatelle really.I am now afraid that a classic situation is emerging: If this programme note is any longer it will take more time to read this than it will take to play the three pieces.Pelle Gudmundsen-Holmgreen

In Beethoven?s Triple Concerto a piano trio provides the soloists a first in the history of music. Beethoven?s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra but varies his treatment of the solo parts allowing each instrument to play alone with the orchestra (particularly the cello) using two solo instruments together in ever new combinations and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web the orchestral piano violin and cello voices interplaying and entwining and he produces a true masterpiece. Bärenreiter?s new Urtext edition ofBeethoven?s Triple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions but with the assistance of three newly-discovered sources editor Jonathan Del Mar has cleaned up the text corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven?s day might have recognized with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

(Innocents in Love) For Clarinet in A Violin Cello Piano-(Innocents in Love) For Clarinet in A Violin Cello Piano. This 15-minute work composed in 1989 was commissioned and premiered by the Aeolian Chamber Players. The quartet is a set of variations based on two melodies: Les Niaisde Sologne by Rameau and a fragment from Rodriguez's first opera Le Diable Amoureux hence the composite title Les Niais Amoureux.