SKU: HL.14004587
ISBN 9780853608592. 8.25x11.75x0.165 inches.
Arthur Bliss's first orchestral compositions, his studies for Full Orchestra, are believed to have been composed in 1920. The first performance in 1921 was conducted by Arthur Bliss. Orchestration: 2 Flutes, Oboe, Cor Anglais, 2 Clarinets in Bflat, Bass Clarinet in Bflat, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion, Harp, Celesta, Strings. Full score and orchestral parts are available on hire from the publishers. Duration: c. 12 minutes.
SKU: HL.49045561
ISBN 9783901974045.
Strauss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.
SKU: BR.SON-621
Chamber music by Jean Sibelius - a welcome addition to the chamber music repertoire for strings with piano.
ISBN 9790004803233. 9 x 12 inches.
This volume presents partly less known, but undoubtedly interesting and highly welcome additions to the chamber music repertoire for violinists and cellists in the reliable Urtext of the Complete Edition. The violin was Sibelius's instrument. He was active as a violinist mainly during his studies at the Helsinki Music Institute from 1885-1889 and for a short time thereafter. The present volume contains Jean Sibelius's opus-numbered works for violin or cello and piano, 36 compositions in total. Most of the works of this volume were created at the beginning of the 20th century and remained unpublished until the early 1920s. Sibelius composed far less music for the cello than for the violin. Malinconia (Op. 20), published in 1911, remained his only opus-numbered work exclusively for cello and piano. This volume also includes Two Pieces (Op. 77) and Four Pieces (Op. 78) as versions for violin with piano and for cello with piano.Chamber music by Jean Sibelius - a welcome addition to the chamber music repertoire for strings with piano.
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