SKU: AP.45820S
UPC: 038081523309. English.
What would December concerts be without those familiar tunes that everyone loves to hear during that time of year? Here's a medley arranged by Douglas E. Wagner of a baker's dozen of some of the most recognized holiday tunes in the world, set in a fun, up-tempo style that is sure to be an audience hit. Even the violas get to play the melody! The tunes (in presentation order) are: Good King Wenceslas * Deck the Hall * O Come, All Ye Faithful * Here We Come A-Caroling * Jolly Old Saint Nicholas * O Come, Little Children * Angels We Have Heard on High * We Three Kings * Now Is Born * Joy to the World * Jingle Bells * Up on the Housetop * and Hallelujah! Chorus. (1:30).
SKU: LO.30-2786L
UPC: 000308130751.
Jesus' lordship over nature as well as the people is underscored beautifully in this anthem concerning His life and ministry. A gentle, lightly syncopated musical style provides a buoyant support for the meaningful choral lines. Multiple accompaniment options make this wonderful piece from Lloyd Larson suitable for any time of year. (From the cantata Who Do You Say That I Am?, SATB--55/1145L; SAB--55/1146L) Instrumentation: 2 Fl, Ob, 2 Cl, Bsn, 2 Hn, 3 Tpt, 2 Tbn, Tba, Timp, 2 Perc, Harp, Pno, 2 Vln, Vla, Cello, Bass.
SKU: WD.080689394577
UPC: 080689394577.
Perfectly fitting for Easter or any time of the year, this arrangement for orchestra by Geoff Grant is a gorgeous feature that will prepare the congregation’s hearts for worship!
SKU: LO.30-1687L
UPC: 000308057782.
Christmas is that wonderful time of the year when we sing, come, thou long-expected Jesus even though we know he has already come, and 'joy to the world' even though we know the world is not yet completely joyful. ôThese are the opening words of this thoughtful and expressive cantata-a beautiful combination of the meditative, as well as the joyful, feelings that remembering the events of Christmas brings. The congregation is asked to join in the singing of familiar carols, and the choir is given the opportunity to sing beautifully crafted, but never difficult, new music for the season. Performance time: 25-30 minutes. Flute 1 and 2, B-flat Clarinet, Horn in F, Trumpet 1, 2 and 3, Trombone 1, 2 and 3, Timpani, Percussion, Opt. Harp, Violin 1 and 2, Viola, Cello, Contrabass.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.48024683
ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.
TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.
SKU: BR.PB-5539
A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century.
Have a look into ISBN 9790004213490. 10 x 12.5 inches.
Ravel needed only two weeks of intensive concentration to orchestrate his piano suite Valses nobles et sentimentales, which was given its premiere performance in March 1911. Consisting of seven waltzes and one epilogue, the work stamped Ravel as a creative personality whose masterpiece breathed an unbelievably new kind of musicality and incredibly intensive poetry. Let us not forget that this was twelve years before La Valse, with which it shares a number of similarities. The new edition of the complete performance material in Breitkopf's Urtext series was prepared by the Ravel expert Jean-Francois Monnard.A l'exemple de Schubert - Ravel re-invents the waltz, inspired by Liszt, Chopin, Schumann and Chabrier, transforming the rhapsodic gyrations of the dance and sending it whirling into the 20th century.
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: PR.416415720
UPC: 680160636150.
Illuminating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.
SKU: PR.41641572L
UPC: 680160636167.
SKU: BR.SON-618
Sibelius No. Zero?
ISBN 9790004803202. 10 x 12.5 inches.
Whoever is looking for orchestral works in several movements by Sibelius before the seven officially numbered symphonies will run into Kullervo op. 7, as well as Lemminkainen op. 22. Sibelius follows a cyclical concept in these four tone poems, so that Lemminkainen, owing to its time of origin, can truly be labeled as his Symphony No. Zero. The previously unprinted early versions, presented in the respective volume of the Complete Edition for the first time, can be dated to the year 1895/96. The first revision was made in 1897, after the world premiere. Only after this premiere did Sibelius write his First Symphony before he again revised the Lemminkainen scores some of them much later and had them published.
SKU: AP.40458S
UPC: 038081454177. English.
The melodies of Tchaikovsky's celebrated ballets are beloved worldwide, and no more so than this famous waltz. In this Romantic-era masterpiece, young string students will discover beautiful musical figures with rhythms, bowings, and fingerings achievable even by students in their first year of study. All sections have interesting parts; however, the firsts are featured. More advanced students will also find the arrangement fulfilling and motivational. This is a selection that will enhance any string orchestra concert program at any time of the year. This title is available in Music Prodigy.
SKU: HL.50510026
ISBN 9790080400722. UPC: 073999679762. 5.5x8.0x0.326 inches. Gabor Darvas.
Inspired by his friend, the composer Balakirev Tchaikovsky decided in 1869 to write an overture to Shakespeare's drama Romeo and Juliet. The work was completed the same year and received its premiere soon thereafter, on March 4th, 1870 in Moscow under the direction of Nikolay Rubinstein. Following the performance the composer worked over the piece again at Balakirev's instigation: he wrote a new introduction and altered the return and the end, too. The new version was first performed under the baton of Napravnik in St Petersburg on February 5th, 1872. By that time it had become clear that the composition was closer to the genre of symphonic poem than to that of a theatrical preludewhich is also indicated by the subtitle: 'fantasy overture'. In the 1880s Tchaikovsky carried out further changes in the score and thus the third version of Romeo and Juliet emerged that was first performed by Ippolitov-Ivanov as conductor in Tbilisi on April 19th, 1886.
SKU: BA.BA08899
ISBN 9790006523351. 33 x 24 cm inches. Preface: Denis Herlin. Text: Charles-Antoine Leclerc de La Bruere.
“Dardanus†is Rameau’s third “Tragdie lyrique†composed for Paris after “Hippolyte et Aricie†and “Castor et Polluxâ€. With its multi-facetted music it represents quite a high point of this genre. Its performance history is remarkable in that within only five years two clearly different versions were being performed.The new critical edition by Denis Herlin for the first time offers the possibility to reconstruct the version of May 1744 in addition to the version of 1739. Also, the Appendices include the complete performance material of the version of April 1744, many parts of which could not be heard since. Last but not least the changes of the successful re-staging of 1760 are presented.This performing edition contains all the purely instrumental numbers of the opera in their various versions. Apart from the preludes and ritornellos, these are above all the diverse dance numbers.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: CF.PO192S
ISBN 9781491157367. UPC: 680160915927.
Program note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability.  .Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .
SKU: CF.PO192F
ISBN 9781491157374. UPC: 680160915934.
SKU: BR.PB-5581
ISBN 9790004213919. 10 x 12.5 inches.
A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.
SKU: BR.PB-5598-07
ISBN 9790004214954. 6.5 x 9 inches.
SKU: BR.PB-5698
ISBN 9790004216354. 10 x 12.5 inches.
Joachim Raff's Fifth Symphony Lenore op. 177, composed in 1872, reveals the composer as a representative of the middle ground between Neo-German aesthetics and the symphonic tradition. It owes its name to G. A. Burger's ballade, which is the programmatic basis of the final movement. Using this literary model, Raff oriented himself to the Berlioz program symphonies and the Liszt symphonic-poem concept, on the one hand, but on the other, he let the three preceding movements follow traditional symphonic form. Raff conducted the Lenore symphony's premiere in December 1872 in a concert by the Furstliche Hofkapelle in Sondershausen. The concert went to his satisfaction, although the audience evidently did not know what to make of the work: [...] and the symphony [...] was played before this faintly musical party. Essentially for the greater glory of God and my edification, less for that of the said public, which seems to have been rather horrified by it. His friend Hans von Bulow had, however, a great pleasure in hearing the symphony the following year in Berlin. In her preface, the editor Iris Eggenschwiler provides detailed information about the work's genesis, documents Raff's ideas and intentions, and facilitates a comprehensive orientation within the historical context. Breitkopf & Hartel is now presenting for the first time with this symphony an orchestral work by Raff in a modern Urtext edition, thus also continuing its collaboration with the Joachim-Raff-Gesellschaft.In collaboration with the Joachim-Raff-Archiv Lachen (CH).
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