Concerto and ripieno part-Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Haydn's Symphony No.8 is the final piece in his triptych on the times of the day consisting of the symphonies Le Matin Le Midi and Le Soir (Hoboken I:6-8). The cycle originated in 1761 on a commission from Haydn's patron Prince Anton Esterházy. Whether the Prince was hoping for a counterpart to Vivaldi's famous concertos on the four seasons or pursued a different idea can no longer be determined. It was doubtless the purpose of these concertante symphonies to present to a select audience the Prince's chamber ensemble which had been assembled or expanded that spring as well as its new conductor. The pieces are laid out on a large scale full of pomp andsplendour and the scoring at times divided into thirteen separate parts offers virtually every player an opportunity to display his prowess as a soloist.At that time the Esterházy ensemble was made up of six or seven players of the violin or viola (the seventh was actually retained as a flautist) one player each of the violoncello and violone two oboists doubling on flute two horn players and a bassoonist. This listing includes Haydn himself who conducted the ensemble from the first violinist's desk. Contrary to a widely held belief there was no harpsichord. Indeed the only genres that employed a keyboard instrument at that time in the Viennese area were vocal - namely operas cantatas and church music.Urtext from Joseph Haydn WerkeFull score & parts (BA4673) available for sale

Solo for Oboe or Violin-'The title only appears frivolous to those who have lived little. With the passage of time the seasons that pass the differences in quantity and quality of light of temperature and weather become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes incredulous and wondrous events that we can only experience once in a lifetime: our birth our blossoming our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto this time with Lisa Batiashvili that the idea came to me for a cycle of four concertos with each time a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico l’automne’ whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind hence the ‘Concerto amoroso le printemps’ was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years it was quite naturally that I thought of completing this cycle for François Leleux with winter ‘Concerto tenebroso’ created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude with a work that reunited all four protagonsits. It was summer the ‘Concerto luminoso’ which took on this role’.

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre

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)

Composer's Program Note Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied upin a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focusis on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to meto start making orchestral excerpts from my operas that are meant to be played before the premiere (andafter please); I call them 'opera trailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and moreappetizer-ish. SNOW WHITE'S MIRROR is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself either because she kills them or because they decide they can't stand being around her anymore. But apparently she's o.k. with that...The music is intended for a large audience: it's basically pop music done with all the craftmanship of aclassical composer who's equally at home with large scale symphonic form avantgarde technique opera singing - and modern pop. The Trailer is in three movements. It contains three sections of the opera; the prelude an interlude close to the beginning of the second act and the final scene but one. It's a gloomy sort of trailer starting out in grand title sequence style moving on to a decidedly odd piece where Snow White find her way to the dwarfs (who're creepy junkies doing pornography to get money to buy dope) and ending in kind of an eerie rejection mood: Everyone still alive walks out on Snow White singing 'skin as white as snow hands red with blood soul as black as ivory'.(NM 2010)

Caroline Mathilde Act I (Concert Suite)-The story centres on the English princess Caroline Mathilde (1751-1775) sister of George III who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King Christian VII. The balletportrays her unhappy marriage the King's growing madness and her fatal love-affair with Struensee the King's influential physician which leads to their arrest his execution and her exile at the age of 20 separated from hertwo young children. In keeping with the period and perhaps also with the traditions of Romantic ballet the music is relatively simple in harmony and form and most of the action is conveyed in set-piece dances. The suite which consists essentially of the second half of Act I begins with one of these a bristling interplay of wind and string ensembles in D major portraying in the ballet a curious nuptial game with the king and princess on movablepedestals. The slow music that follows has to do with the king's healing by Dr. Struensee and the new queen's unquiet reverie (oboe and cor anglais solos). Then the suite like the act is capped by a pair of pas-de-deux thefirst savage and bizarre for the royal couple the second rich and passionate for the queen and the miracle-working doctor.Score (miniature). Duration c. 25mins.

Study Score No. 127-Charles Fussel's Three Processionals for Orchestra.Three Processionals is drawn from ideas contained in an earlier work by the composer Voyages based on the poetry of HartCrane.'In this work I was interested in connecting Hart Crane's use of sea images as a basic vocabulary for his cycle of love poems with Debussy's orchestral sea poem La Mer. The third processional concludes with adirect quote from Debussy. Hart Crane's poems in their profound concentrated language first warn the child that his beautiful and joyous seashore games touch a vast ocean whose depths are cruel And in the following poem loveitself is the great force which sweeps over and moves every aspect of life. To survive this 'tidal wedge' is a fearful and exhilarating struggle and we are frequently 'over-taken' by its power plus the knowledge of ourlimits'. - Charles Fussel

Trois Esquisses Symphoniques-New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Following the recent publication of the full score and performance material to Debussy?s La Mer (BA 7880) Bärenreiter now presents the study score edition of this ?impressionistic? masterpiece.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new editionincludes the famous ?fanfare? in Movement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.

Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).

Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).

Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).

Britta Byström's Trumpet Concerto No.2 Screen Memories for Trumpet solo and Orchestra (2012). Trumpet solo part: WH31514B Dedicated to Tine Thing Helseth. Premiered February 28 2013 by the Nordic Chamber Orchestra  and Tine Thing Helseth conducted by Johannes Gustavsson at Stadshuset in Sundsvall Sweden. Programme note Screen Memories is the English translation of a Freudian term (Deckerinnerung is the original German term). In Swedish it is called 'täckminnen'. The term means strong but seemingly meaningless childhoodmemories as 'cover' for substantial memory.  The title is something of a pun as the work is based on the composition Voyage Into the Golden Screen  (1968-69) by Danish composer Per Nørgård – a modern classic in which Nørgård presents his compositional technique known as the infinity series. The technique which I freely apply in the “Trumpet Concerto” enables the development of an endless melody! In that sense “Screen Memories” adapts a second understanding: memories of the composition of Nørgård.  Nørgård in turn adopted the title from a song by British songwriter Donovan – the first phrase of this song is in my trumpet concerto. And then there's a third musical reference: the second movement of Beethoven's Piano Sonata No. 8 'Pathetique'. I once heard it in concert while a massive rainstorm appeared and nearly drowned the music. A musical memory incorporated in the composition (the percussionist uses a “rain stick”).  Screen Memories thus becomes a concert full of musical memories dressed in new clothes. It is written for and dedicated to the soloist Tine Thing Helseth whose soft and virtuoso

Symphonic Highlights-With some brilliant new themes along with familar strains from the first two films this third and final chapter promises to be the best yet. Hans Zimmer's powerful musical backdrop sets the adventure level at an all-time highfor those orchestras who love to play film music. Includes: Hoist the Colors Drink Up Me Hearties I See Dead People in Boats and Up Is Down.