SKU: HL.49044904

ISBN 9783795793388. 10.0x13.25x1.3 inches.

The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work.

SKU: TM.00522SC

Sc and solo in set. Cem in sc.

SKU: TM.00522SET

Trans: horns. Solo/pf.

SKU: RM.DEVO02310-CO

SKU: BR.PB-5559-07

Tchaikovsky's Hamburg Symphony in the Urtext

ISBN 9790004213698. 6.5 x 9 inches.

Like Hamlet Overture, originating at about the same time, Tchaikovsky's 5th symphony, composed in 1888, focuses on the human existential question: To be or not to be - triumph over fate or triumph of fate? The per aspera ad astra dramaturgy underlying the symphony culminates in triumphant certainty. If Tchaikovsky was initially euphoric, then severe self-doubts befell him after he conducted the premiere in St. Petersburg. These doubts demonstrably led him to make interpretative changes for the Hamburg performance in 1889, including a cut in the finale. Only with the extremely positive response to this performance did his doubts dispel. Nevertheless, Tchaikovsky himself never again conducted the 5th symphony. It was only posthumously established in the repertoire through Arthur Nikisch's commitment. The new edition's textual criticism takes into account besides the autograph and first edition also the first edition's orchestral parts, together with the piano arrangement produced from the autograph by Sergei Taneyev. In addition to thoroughly clarifying dynamics and articulation, the source comparison also corrected many errors and solved problematical passages, such as, for instance, the trombone entry in m. 372 of the finale. Considered, moreover, for the first time has been the composer's doubts about his work and its ambiguities, frequently successfully suppressed in the history of its performance and reception. Tchaikovsky's conductor's copy is unfortunately lost, hence his alterations made for the Hamburg performance are not precisely known. They have survived only indirectly through remarks that Willem Mengelberg left to posterity, for which he could draw on Tchaikovsky's conductor's score and oral references by the composer's brother Modest. So, anyone wishing to deal seriously with the work's certainties will not be able to do so in the future without having also to deal with its uncertainties.

Tchaikovsky's Hamburg Symphony in the Urtext.

SKU: AP.36-A258101

ISBN 9798892701853. UPC: 659359980039. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.43829

UPC: 038081496962. English.

Picture the matador as he waves his red cape and the crowd cheers him on! Distinguished by its Spanish influenced melodies and harmonies, this piece in 4/4 is written in D minor and E minor. Great to develop expressive playing! (3:30).

SKU: PR.11641867L

UPC: 680160683215.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

SKU: AP.36-A258196

ISBN 9798892701891. UPC: 659359762505. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.