The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Concert Overture-The Hebrides Op.26   Concert Overture   The Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.   The new Bärenreiter edition consist of two versions each containing additional material from further sources.   Version one the “Rome” version exists itself in two versions and has never beenpublished in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.   This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back   First ever Critical Edition   Edited by Christopher Hogwood  

Le village de Guflina offre le meilleur point de vue sur les vallées du massif alpin du Liechtenstein. On raconte qu?une caverne se trouverait sous le promontoire qui s?avance en saillie. Dans cette caverne vivait jadis un terrible dragon qui saccageait les prés alentours et répandait la terreur parmi la population. En ces temps-là vivait à Guflina un géant dont la force valait celle de douze hommes. Les paysans en détresse le supplièrent de leur venir en aide. Le géant accepta et l?aventure commença?

A Chanukah Anthem-Set with strings woodwinds and percussion this soaring melody by Broadway composers Sheldon Harnick and David Shire is a wonderful addition to your holiday repertoire.

Gustav Holst wrote the libretto and music for his opera The Perfect Fool over the years 1918 to 1922. It had its premiere at in London the next year but mystified audiences and has been rarely performed since then. This five-movement suite of introductory ballet music is arranged separately as an Orchestral suite.The ballet music includes dances for the Spirits of Earth Water and Fire and Holst’s music evokes the moods of these beings delightfully.Gustav Holst has earned a place among the most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.

Niels Marthinsen's Symphony No. 2 - Snapshot Symphony (2009). 1st movement Fiesta Mexicana: fortissimo accelerando (ca. 6 minutes) 2nd movement Arabian Nights: adagio intensivo e furioso (ca. 11 minutes) 3rd movement Great Fireworks in China: giocoso esplosivo e marcatissimo (ca. 8 minutes)   Programme note I’ve never been to Mexico and Arabia or to China. But I love the way those countries sound in Hollywood movies and inpop culture generally: When Clint Eastwood rides south of the border when Disney’s Alladin or Mulan takes me far east when arabic pop music roars past me out of the open windows of a car... and bull fighter music and the sound of acrobatic beat-em-up’s in John Woo’s Hong Kong karate movies – and so on: powerful images splashed all over my eye balls and ear drums. My recollections of this ethnic-pop-film-music has turned itself into a symphony. And I don’t even have to just remember what I have heard: A few internet clicks gives me access to incredible sound libraries containing live-and-kicking ethnic music from my three favorite countries just waiting to be put together in new combinations and energize my personal imagery.  The symphony is like a huge slide show – musical snapshots from my travels in the western pop culture versions of three exotic locations: Mexico Arabia and China – original and popular melodies welded together by my personal musical language and associations. I use all the effects of modern pling-plong-music plus a few of my own inventions to create a spectacular contemporary orchestral sound sporting a bee hive of melodies from either East or West played simultaneously in different keys and differents tempos at once while kept firmly in place by

Symphony in D major Hob. I:104-The twelve London Symphoniesâ? comprise the sublime final statement of Haydnâ??s symphonic Å?uvre. They were written for the London impresario Johann Peter Salomon and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The D-major Symphony no. 104 was composed as the last of the London Symphoniesâ? in early 1795 and is not only the concluding work but also the highlight of Haydnâ??s symphonic output overall. It firmly established the high standards of the genre for future generations of composers and probably Haydnâ??s most performed symphony to this day. This study edition adopts the musical text of the Haydn CompleteEdition thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

Orchestration: 3(pic)(afl).2+ca.1+2bcl.2+cbn/4.3.3.1/timp.2perc/hp/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i mørke og lys kold og varm lyd. Jeg har også i dette stykke forsøgt at introducere stærke følelsesmæssige udtryk ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags ”indre digt” jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord er det ufuldstændigt og utilstrækkeligt i sin form men derfor alligevel meget godt beskrivende for stykkets væsen. Det lyder nogenlunde sådan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long? Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much? was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush hush little heart- hush!! Don't be afraid maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush hush little heart-hush - be comforted 'cause even as you feel so small Your very existence is strange and beautiful - so hush hush be comforted be still my beating heart.

Wish You Were Here written for the Boston Pops pays homage to Colin McPhee one of the first western musicologists to study Balinese gamelan as well as to the great illustrators Carl Barks and Herge (responsible for Donald Duck & Tintin respectively). Muhly has written a completely romantic and fanciful gamelan-influenced piece. On top of this twittery and excited music a long lonesome melody unfolds. After a desolate interlude with severe ship’s-horn brass the energetic patterns start again and the long line returns this time with a triumphant revelatory ending. Arranged for orchestra this piece has a duration ofapproximately 8 minutes.

Polka Schnell, Doppel-Nummr Mit Vancura, A.: Charmant U. Galant. Intermezzo. Par STRAUSS JOHANN (FILS). Blorch/ Répertoire / Orchestre

A Wedding Bouquet was the idea of Lord Berners who wanted Frederick Ashton to make a ballet pantomime out of one of Gertrude Stein's plays and who both wrote the music and designed the 'decor' and costumes. The name ofthe play was 'They must be Wedded to Their Wife' but this was thought too long for advertising and was changed to A Wedding Bouquet. Lord Berners went to visit Gertrude Stein in Bilignin and she liked the idea and he foundin her house a carpet which gave him the pattern for the backcloth for the ballet.The ballet was first spoken of as a choral ballet and the opera chorus did sing or chant the words at the early performances but it was entirelyunlike any other choral ballet before or since. The words explained the action introduced the characters made utterly irrelevant comments worked themselves into a frenzied rhythmical accompaniment or injected on occasional aptphrase that devastated dancers and audience alike. Not all of the words have ever been really intelligible but gradually the audience got to know certain phrases by heart and the ballet has a devoted public although inevitably ithas always been a rather special one and to this day there are people who detest the whole affair don't 'understand' it and think it an absurd waste of time and talent.

Par SAINT-SAENS CAMILLE. “In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where itreceived its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of “Camille Saint-Saëns - Complete Edition of the Instrumental Works”. This performing Urtext edition is based on volume BA 10303 from that series. - First scholarly-critical edition of this famous symphony based on “Camille Saint-Saëns – Complete Edition of the Instrumental Works”- Now with separate parts for all winds- Orchestral parts in a large format (25. 5 cm x 32. 5 cm) ; In this work I gave everything I had to give. [… ] What I did here I will never do again. Camille Saint-Saë ns was justifiably proud of his Symphony No. 3 in C minor Op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called ; Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marksthe launch of a large-scale project: the publication of Camille Saint-Saë ns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saë ns & Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25. 5 cm x 32. 5 cm) / Niveau : 5 / Répertoire / Orchestre