Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.

Based on the critical edition-'Carmen' is one of the most popular and most frequently performed operas across the globe. Its world premiere was a flop which the composer Bizet did not live to see. Nevertheless the opera very quickly gained acceptance at all major theatres bringing in its wake countless arrangements of some particularly beautiful music numbers.It was in all probability Bizet's close friend and fellow student Ernest Guiraud who brought 12 numbers of the opera together to form two orchestral suites. After the first Carmen Suite which unites the most beautiful instrumental settings the second suite with arrangements of the best-known vocal pieces is now available as well. Themusical text is based on our new scientific edition of the opera edited by Robert Didion.

Unlike MacMillan’s first three symphonies Symphony no 4 (2014 15) is essentially abstract. Here he is interested in the interplay of different types of material following upon a fascination with music as ritual that has stretched from Monteverdi in the early 17th century through to Boulez and Birtwistle in the present day. There are four distinct archetypes in this work which can be viewed as rituals of movement exhortation petition and joy. It is also a homage to Robert Carver (c1487 after 1566) the most important Scottish composer of the High Renaissance. There are allusions to Carver’s 10-voice Mass Dum sacrum mysterium embedded in the symphony and at anumber of points it emerges from across the centuries in a more discernible form: the vocal lines are muted and muffled literally in the distance as they are played delicately by the back desks of the violas cellos and double basses.

Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre

Blue Tango by Leroy Anderson was a #1 hit in 1951 juxtaposing the charismatic melody over a traditional tango pulse. The work captured the spirit of an era.At the height of his career in the mid-1930s Leroy Anderson began arranging for Arthur Fiedler's Boston Pops Orchestra. Later Fiedler encouraged him to write his own tunes for the Pops. His compositions more than 50 in number virtually define the sound of the contemporary American pops orchestra.

William Walton Edition vol. 18 Hardback-This volume contains newly edited versions of a number of Walton's shorter pieces for orchestra including the ever-popular Facade Suites.

Containing four contrasting themes from the soundtrack of this hit movie re-make, this arrangement is scored for full orchestra- however, it is also completely playable by string orchestra alone, or with any number of added winds or percussion. (3:20) / Orchestre

Reinforce legato, staccato, and ensemble phrasing with this piece while ushering in the joyous holiday season with musical glee. Opening with a clear unison statement and slowly adding textures and harmonic voices, the work develops to a joyous tutti statement that continues to build in intensity to a glorious conclusion. This arrangement is scored for full orchestra- however, it is also completely playable by string orchestra alone, or with any number of added winds or percussion. (2:30) / Orchestre

Tragédie in one Prologue and Five Acts. Par RAMEAU JEAN-PHILIPPE. Rameau Castor et Pollux RCT 32A-B (Versions from 1737 and 1754) Symphonies (Full Score) Symphonies / Versions from 1737 and 1754 This collection of all instrumental numbers from 'Castor et Pollux' (tragédie in a prologue and five acts) brings together the movements and dances of all versions based on the volumes of the ?Opera Omnia Rameau? IV.3 (version 1737, BA08874-01) and IV.23 (version 1754, BA08864-01). Orchestras can use this to compile a suite to meet their needs aided by a register which offers a separate overview sorted by key. The performance material of the 'Symphonies' is available on hire in the accustomed high quality of the ?Opera Omnia Rameau?. - Compilation of the instrumental numbers from all opera versions - Overview of the keys to enable a tailor-made compilation of orchestral suites - Based on the scholarly-critical new edition of all original versions - Performance material available for hire / Date parution : 2023-06-01/ Répertoire / Orchestre

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility toplay these earlier versions perhaps even along side the version known today.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the 'Early Version' BWV 1050a.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility to play theseearlier versions perhaps even along side the version known today.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.3 In G Major BWV 1048. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.