SKU: PR.416416140

UPC: 680160642441.

Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.

SKU: BR.PB-5546-07

ISBN 9790004213568. 6.5 x 9 inches.

Spiritual AffinitiesSchumann had already worked on Byron's Manfred as a law student, and the topic fascinated him from that time on. Perhaps he discovered a spiritual affinity to himself in the romantic hero's inner conflict? In any event, he decided on a stage rendition of the drama with incidental music, an entirely new genre that he had been dreaming of for some time already. He conducted the overture - it dates from 1848 - for the first time as a separate piece in March 1852. In addition, he followed the preparations for the first edition of the complete performance material very closely, which was published by Breitkopf in Leipzig that same year. The Breitkopf Urtext edition of the Manfred Overture is based on this first print of the score and parts revised by Schumann. At the same time, this edition also marks a new chapter in the expansion of the collection of Schumann overtures that have already been published by Breitkopf (to Hermann und Dorothea op. 136, Szenen aus Goethes Faust WoO 3 and Genoveva op. 81).

Audiences should be ready for something new and unheard of, wrote Robert Schumann to Franz Liszt in late 1851, referring to the world premiere of his Dramatic Poem Manfred.

SKU: BR.PB-5549-07

ISBN 9790004213599. 6.5 x 9 inches.

Robert Schumann placed great importance on the genre of the overture, as can be seen in the chronology of the genesis of his sole opera Genoveva. In his Haushaltbuch the composer entered as his first idea thoughts of an overture, then produced the score even before having begun working on the actual opera. Schumann was right on the mark when he suspected that the overture alone should enjoy a favorable reception. The Overture appeared in print at about the same time that the opera was premiered. It established itself in the concert hall as an autonomous work and ranks today - along with the Manfred Overture - among Schumann's most beloved concert overtures. The Genoveva Overture is being released in a text-critical Breitkopf Urtext edition for the first time. The main source is the first printing revised by Schumann.

The Urtext debut of Schumann's beloved overture.

SKU: BR.PB-5566-07

3 Work Stages, 2 Versions, 1 Edition

,,… the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)

ISBN 9790004213766. 6.5 x 9 inches.

With the new edition of the G-minor Symphony, a vital work group in Mozart's oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the Hafner Symphony, Henrik Wiese uncovers in the present Breitkopf Urtext score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as Fassung letzter Hand. A compelling insight which sheds new light on the famous G-minor Symphony. Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts.Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages of OB 5542 - Violin II.),,... the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)

3 Work Stages, 2 Versions, 1 Edition.

SKU: BR.OB-5642-60

First edition based on the copy of the score revised by Mahler Hamburg 1893

ISBN 9790004343722. 10.5 x 14 inches.

The Blumine movement included in the original five-movement version of Mahler's Symphony No. 1 was long considered lost. Composed as early as 1884 for a theater piece, Mahler inserted it into the symphony as its second movement in 1888. After three performances, he turned his back on this Love Episode, calling the sentimental, gushing movement a youthful folly, and removed it. Mahler's Hamburg autograph score was only rediscovered in 1966. Benjamin Britten gave the Blumine movement a new hearing at the 1967 Aldeburgh Festival. The critical new edition is based for the first time on the autograph score, together with the meanwhile rediscovered score copy with Mahler's last revisions.The cloth-bound volume PB 5661 contains next to the final version of the four-movement Symphony, the Blumine movement.

First edition based on the copy of the score revised by Mahler Hamburg 1893.