Hardback-This volume contains newly edited versions of four important later orchestral works by William Walton: Capriccio Burlesco Improvisations on an Impromptu of Benjamin Britten Prologo e Fantasia and Varii Capricci. The first three works were written for American orchestras: Capriccio Burlesco was commissioned by the New York Philharmonic Orchestra for its 125th anniversary year in 1968; the Improvisations based on a theme from Britten's Piano Concerto No. 1 was written in 1969 and dedicated to the San Francisco Symphony Orchestra; Prologo e Fantasia was written in 1981-2 for the National SymphonyOrchestra of Washington DC. The last work Varii Capricci was a free transcription for orchestra by Walton of his Five Bagatelles for Guitar and written for the opening of the Royal Festival Hall in 1976.

William Walton Edition vol. 24 3/e Hardback-The final volume in Oxford University Press' William Walton series William Walton Edition: Volume 24 - A Catalogue is a comprehensive listing of the composer's works compiled by Stewart Craggs. It gives dates and details for the composition first performance and publication of every work as well as a bibliography and information on recordings.

Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance Habanera the 1887 work features a languid mood highlighted by bursts of virtuoso activity. This volumecontains the full score for violin and orchestra of both these magnificent pieces.

Saint François D'Assise is an opera in 3 acts by Olivier Messiaen. This volume is part of the edition that includes the books with the full Orchestra scores as well as the explanations analysis and comments of each tableau. It is focused on the “Act 3 Tableau 7. Les stigmates” which tells of the moment when Saint Francis receives the stigmata which proves that God approves his status of Saint. This tableau is happening when Saint Francis is alone in a cave in Verna. The music with a choir depicts a feeling of anxiety until the Choir interprets the voice of the Christ. Saint Francis is then hit by some lightfrom a cross that appeared to him in the exact same places where the Christ was hit by the Stigmata. The Orchestra is really strong on that tableau and depicts one of the most important moments of the opera Based on the life of Saint Francis of Assisi this opera is set in Italy and is divided as per below: Act I: 1. La croix 2. Les laudes 3. Le baiser au lépreux Act II 4. L’ange voyageur 5. L’ange musicien 6. Le prêche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was first played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French Organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music he had a very special way of composing and his work can be identified by its complexity its diatonic aspect its harmony with limited transposition its colour and its additive rhythms. He composed many works related to ornithology and birdsong including the Bird Catalogue in 7 volumes and the Treatise on rhythm colour and ornithology in 7 volumes.

L'Ange musicien-Saint François D'Assise is an opera in 3 acts by Olivier Messiaen. This volume is part of the edition that includes the books with the full Orchestra scores as well as the explanations analysis and comments of each tableau. It is focused on the “Act II 5. L'Ange musicien” which describes the appearance of the “Musician Angel” to Saint Francis. This tableau is introduced by St Francis on his knees next to the cave. Three themes stand out in the opening of this tableau: the Decision the Joyce and the Calling. Some bird songs can be heard and the Angel appears in the light with a Viol and a bow. TheAngel Musician plays alongside some birds and leave St Francis fainting. He is soon joined by Brother Léon Brother Massée and Brother Bernard who try to help him. The last theme played is the Joyce one with some notes on the Viol while the tableau finishes with the three Brothers looking at the sky. Based on the life of Saint Francis of Assisi this opera is set in Italy and is composed divided as per below: Act I: 1. La croix 2. Les laudes 3. Le baiser au lépreux Act II 4. L’ange voyageur 5. L’ange musicien 6. Le prêche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French Organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music he had a very special way of composing and his work can be identified by its complexity its diatonic aspect its harmony with limited transposition its colour and its additive rhythms. He composed many works related to ornithology and birdsongs including the 'Bird Catalogue' in 7 volumes and the 'Treatise on rhythm colour and ornithology' in 7 volumes.

To celebrate the completion of the Eulenburg Audio Score publishing project all 50 volumes are now available in a presentation box. With the help of Eulenburg Audio Score professional amateur and student musicians can familiarize themselves with the works by reading and listening at the same time. Each score contains an informative preface in English and German providing a brief introduction to each work with information on its genesis creation and reception. The Series is an anthology in 50 volumes offering you a treasury of the most famous orchestral works of the baroque classical and romantic repertoire. Each volume consists of a clearly-presentedand authoritative score an informative preface detailing the biographical and creative background and a CD of the complete work. Press Reviews:â??This beautifully presented multimedia collection will be invaluable to students teachers and music-loversâ? Mary Nemet Stringendo (Australian String Teacherâ??s Association) Magazine. â??I enthusiastically recommend this series of scores they are very affordable to music students indeed to anyone and are ideal for anyone reluctant to invest in both a score and recording.â? David Floyd Sheet Music Review.

Symphonies Volume 6Symphony No.32 in G major (Overture) K.318Symphony No.33 in B-flat major K.319Symphony No.34 in C major K.338Symphony No.35 in D major ('Haffner-Symphony') K.385 Wolfgang Amadeus Mozart (1756–1791) - New Edition of the Complete Works edited by the International Mozarteum Foundation Salzburg in cooperation with the Mozart cities of Augsburg Salzburg and Vienna The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At thesame time it also serves as an aid to authentic performances. The principal Series I to IX containing Mozart's actual œuvre appeared between 1956 and 1991. They are regarded as a supreme achievement of Mozart scholarship in our time; modern performances of Mozart's music are unthinkable without them. The important supplementary volumes shed fresh and illuminating light on neglected aspects of Mozart's creative work such as his activities as a teacher or as an arranger of other composer's works.

Fantasia In C Minor Op.80 (Choral Fantasy)-This volume contains two of Beethoven's most unusual highly innovative and original works: the Concerto in C Major Op. 56 for piano violin cello and orchestra; and the Fantasia in C Minor Op. 80 for piano chorus and orchestra.To this day the 'Triple Concerto' remains part of a rare breed in the literature--a fascinating symphonic framework of interaction between the classical orchestra and a trio of intimately interdependent soloists. The work remains a favorite vehicle of the great Beethoven specialists with numerous recordings by legendary performers.The 'Choral Fantasy' is a rarity in the Beethoven canon of ensemble music uniting thevirtuoso display of a semi-improvisational solo piano with the vocal and instrumental richness of chorus and orchestra. Said to have been composed under great time pressure the Fantasy concludes with an extensive choral setting of a text by an unknown poet: 'Schmeichelnd hold und lieblich klingen' ('Flatteringly lovely and fair are the sounds of our life?s harmonies...Accept gladly the gifts of beautiful art...').Reprinted from the authoritative Breitkopf & Härtel editions this volume offers musicians and music lovers an inexpensive high-quality full score of two exceptional works.

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. / Score

Hardback-This volume contains newly edited versions of two of Walton's mature works for orchestra: the Partita for Orchestra written in 1957 and one of ten works commissioned by the Cleveland Orchestra and the Variations on a Theme by Hindemith a work of great colour from 1962-3 and taking as its inspiration a theme from his friend Paul Hindemith.

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

Suite for Orchestra-In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell?arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré?s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic.This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2.First Urtext edition Based on Gabriel Fauré The Complete WorksScore and orchestral parts in a large format (25.5 x 32.5 cm) available for sale