Rhapsodie. Par JANACEK LEOS. The rhapsody for orchestra “Taras Bulba” is the most important and on account of its genesis the most interesting of the three programmatic orchestral works the composer wrote between 1914 and 1920. All three of these works were responses to the contemporary social and political context: “The Fiddler’s Child” was an indictment of the state of society, “Taras Bulba” was a reaction to the international conflict of World War I, while “The Ballad of Blaník” was inspired by the birth of Czechoslovakia. “Taras Bulba” is now available in the New Conductor Score series. These completely redesigned scores stand out due to their carefully researched critical report and a highly legible, clean notation, all in the trusted Universal Edition quality./ Répertoire / Orchestre

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Par KODALY ZOLTAN. Galánta is a small Hungarian market-town known to the travellers from Vienna to Budapest. The composer has passed there seven years of his childhood. There existed at that time a famous Gipsy-band which has disappeared in the meantime. Their music was the first 'orchestral sonority' which came to the ear of the child. The forbears of these gipsies were known already more than hundred years ago. About 1800 some books of Hungarian dances were published in Vienna, one of which contained music 'after several gipsies from Galantha'. They have preserved the old Hungarian tradition. In order to continue it the composer has taken his principal subjects from these ancient editions. (Zoltán Kodály, 1934) “Dances from Galánta” is now available in the New Conductor Score series. These completely redesigned scores stand out due to their carefully researched critical report and a highly legible, clean notation, all in the trusted Universal Edition quality./ Répertoire / Orchestre

/ Partitions classique / Ensemble et orchestre / Conducteur / UNIVERSAL EDITION

Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Seen from the outside this is true of the forces that are used: with its three choirs eight soloists and an orchestra of far more than one hundred musicians there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony' which - as Mahler put it - 'is sung from beginning to end'. In turn the texts that are sung influence the structure of the whole replacing as it were the usual four movements of a symphony with twostrongly divergent 'parts'. And finally as if to emphasize this divergence the texts used - the hymn Veni creator spiritus in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes and a work of contradiction. It seems however that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his Symphony No. 8 was 'the greatest' work 'that I have composed'. It is an understandable coincidence that he thus raised Symphony No. 8 to the same rank within his oeuvre as Goethe who claimed that the drama was his 'Hauptgeschäft' [main work] did with Faust. Even after composing his late works Mahler retained his belief that Symphony No. 8 was his 'opus summum'. (Christian Wildhagen)

From October 1824 Studienpartitur - for orchestra arranger: Webern, Anton composer: Schubert, Franz

For orchestra (triple winds).Published in 2005.3.3.3.3 / 2sax: SA / 4.3.3.1 / hp.cel.2perc / strings.First performance: University of Sheffield Symphony Orchestra George Nicholson (cond) City Hall Sheffield 11th December 2005.Score.

Score with lightly realised (and figured) Basso Continuo and parts (Treble Recorder Basso Continuo)Monsieur Naudot so named on all the title pages of his works dating between 1726 and 1752 lived as a virtuoso flautist and composer in Paris where he is said to have died in 1762. The date of his birth is unknown.The Sonata in G major presented here is the fifth work found in an undated Paris manuscript. There is a suggestion that these Sonatas could also be played on the Musette or Bagpipe then a fashionable instrument in upper French circles. This Sonata is therefore a relatively rare French composition for Treble Recorder and Basso Continuo.

Galánta is a small Hungarian market-town known by the travellers from Vienna to Budapest. The composer has passed through there many times during his childhood at the time there existed a famous Gipsy-band which has disappeared since their music was the first 'orchestral sonority' which came to the ear of the composer. The forbearers of these gipsies were known already more than a hundred years ago about 1800 some books of Hungarian dances were published in Vienna one of which contained music 'after several gipsies from Galantha'. The composer has taken his principal subjects from these ancient editions. (ZoltánKodály 1934)

Matthew Roddie's The Eden Myth arranged for orchestra was composed in 1998 written at the invitation of the University of York Music Department.