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

New findings in Beethoven?s first piano concerto'
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The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.'
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In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.'
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This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. '
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- Urtext edition reflecting the latest musicological research'
- Includes Beethoven?s cadenzas '
- Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre n°1 Do majeur Opus 15] / Classique / Partition / Agrafé /

Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre

Par BEETHOVEN LUDWIG VAN. The Bärenreiter Urtext edition of Ludwig Van Beethoven 's Concerto No. 1 In C Major Op. 15 For Piano features a detailed commentary by Bärenreiter editor and Beethoven expert Jonathan Del Mar. In Beethoven ’s autograph for Concerto No. 1 In C Major Op. 15 For Piano Del Mar found no less than 17 corrections which were made after the work was published. These have been brought to light in this volume and all the sources and findings made by the editor have been documented. This critical edition reflects the latest musicological research and sets the highest scholarly standards without losing sight of theneeds of modern performers. This is a full score./ Répertoire / Piano et Orchestre

Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Concerto for Piano (Harpsichord) and Orchestra F major Hob. XVIII:3 écrite et composée pour Violon et plus précisément pour Violon 2 vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Violon 2 / Chanson En Séparée

Dans les mots du compositeur: ' le concerto prend une sorte de polymorphe-malin plaisir au siècle passé ensemble de musique de piano, populaire et classique. ' L'inspiration initiale était dans le vieux piano roll music des années 1920. / Piano Et Orchestre

The standard edition! Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven’s five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level. Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach. • Bärenreiter Urtext edition at the cutting edge of scholarship • The standard edition for pianists, students, conductors and libraries • Attractively priced boxed set The study scores are not available separately at present. Edition no.: TP 920 ISMN: 9790006205479 Editor: Del Mar, Jonathan Language(s) of text: English, German Product format: Study score (5), Urtext edition Binding: in a slipcase Pages / Format: XIII,99/XIII,74/XV,86/XVII,98/XIX,104 S. - 23,5 x 16,7 cm

Concerto pour du Tippett Piano - écrit entre 1953 et 1955 - peut être considéré comme un commentaire du milieu du XXe siècle et une réaction contre, de types de l'ancien concerto héroïque et percussion. Son inspiration initiale est venue lorsque Tippett entendu Gieseking répéter le premier mouvement du quatrième Concerto pour Piano de Beethoven pour un concert en 1950. Tippett écrivit plus tard de la genèse de son propre concerto: ' Sous l'influence d'une performance exceptionnellement poétique pourtant classique du mouvement de Beethoven, je me suis retrouvé persuadé qu'un concerto contemporain pourrait être écrit, dans lequel le piano est utilisé une fois de plus pour ses capacités poétiques. ' Hormis les influences de jeu self-acknowledged, la principale influence sur le langage musical du concerto, comme le reconnaît Tippett lui-même, a son propre opéra The Midsummer Marriage, où il venait de terminer. Comme le compositeur lui-même des commentaires sur son concerto, ' la musique est riche, linéaire et lyrique, comme dans cet opéra '. / Piano Et Orchestre