Or Organ-Born in Geneva of a jeweller father (and excellent flautist) and singer mother Marguerite Roesgen-Champion (1894-1976) was one of those rare women who reconciled family life (in 1926 she settled in Paris with her husband a philately merchant) with a professional activity devoted to music. Her abundant output graced all genres with a predilection for sacred pieces the art song the Piano and chamber music. Published respectively in 1950 and 1953 the two Nocturnes for Oboe and Piano (or Organ) have their place in the glorious tradition of French music from the between-the-wars period. The first Nocturne subtitled 'Noël' is dedicated to Pierre Bajeux(1899-1961) who taught the oboe class at the Paris Conservatoire as of 1941. Of classic ABA construction this piece as simple as it is expressive is in the form of a pastorale: here the gentle opening recitative unfolds its dreamy melancholic volutes of which the modal character would have appealed to Charles Koechlin. The second Nocturne presents subtle modulations that give it a refined elegance. In both cases this tastefully polished music invites us to stroll in an Arcadian landscape bathed in azure: 'There all is order and beauty / Luxury calm and voluptuousness'.

Oboe and Orchestra KV 314-Oboe Concerto In C Major K.314 (285d).Oboe Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.In addition to an Urtext Oboe solo part this publication includes a performance part prepared by Frank de Bruine.Given the close relationship between Mozart’s D maj Flute concerto and the original concerto for Oboe a reference score has been included with the Urtext Oboe part set above the Urtext Flute part transposed to C maj. With this performers have the opportunity to compare the versions and make qualified decisions on articulation based on the reliable Urtext of the New Mozart Edition.- Urtext Oboe solopart- Reference score with Urtext Oboe part set above Urtext flute part transposed into C maj- Cadenza and lead-in brochureThe New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók's favorite works which the composer himself was fond of playing at recitals. As he explained in an American interview it was ''an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' Bartók also orchestrated the piece in 1931 as no. 1 of HungarianSketches. In 2015 we are launching a series entitled Bartók Transcriptions for Music Students to mark the 70th anniversary of the composer’s death. This involves reissuing our tried publications and publishing some further new transcriptions that fulfill in every respect the strict aesthetic demands of the earlier ones. We trust these publications will allow us to introduce still more music students to the realm of one of the great geniuses of 20th-century music.