In 1832 the Royal Philharmonic Society of London honoured the young German composer Felix Mendelssohn Bartholdy with several commissions. One of the works composed as a result was the A major symphony the ?Italian? based on Mendelssohn?s experiences in Italy in 1830 and 1831. The work was premiered in 1833 conducted by the composer.Today the Italian Symphony has a firm place in the canon of classical masterworks though at its premiere and both the following performances the work was not entirely positively received.Mendelssohn himself was unhappy with it. In 1834 he revised the last three movements but didnot complete this revision. To this day the early version of the ?Italian? is the one played everywhere whilst the revised version has remained to a large extent unknown. Bärenreiter?s critical new edition edited by Christopher Hogwood includes all the performance material for the complete version of 1833 together with the last three movements in the composer?s revised version. Conductors can now choose between the early and revised versions; the revised one includes the first movement from the early version.- A famous work for the Mendelssohn anniversary year in a new Urtext edition.- With the well-known early version and the composer?s revised version.- Includes an informative foreword in English and German.- With facsimile pages.- Full score & performance material (BA9094) available for sale.

Thomas Adès and Philip Hensherâ??s dazzlingly precocious chamber opera Powder Her Face propelled its composer to international attention after its premiere in 1995 and with nearly 300 worldwide performances remains one of the most frequently performed British operas of the last two decades. Charting the glamorous rise and seedy fall of the notorious socialite beauty Margaret Duchess of Argyll the score is as witty poignant and memorable as the â??Dirty Duchessâ?? herself paying homage to the popular idioms of cabaret and tango as well as to Weill Berg and Stravinsky. It is hard to believe that this masterpiece was written by a 24year-old but then that young man was Adès whose prodigious musical talent was awe-inspiring even as a teenager.

Music for the Film-Dmitri Shostakovich's score for the 1964 Russian film-adaptation of Shakespeare's Hamlet. When Grigori Kozintsev's Hamlet was released in 1964 it gained critical acclaim from audiences in the UK and US despite the fact that Shakespeare's work was not heard in its original language. This praise was at least in part due to Shostakovich's impressive score. As one New York Times reviewer described: 'The lack of this aural stimulation - of Shakespeare's eloquent words - is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth and at times anappropriate wildness or becoming levity'.  This miniature score from the Shostakovich Complete Edition includes commentary by Koichi Owa in English and Japanese.

Based on the critical edition-'Carmen' is one of the most popular and most frequently performed operas across the globe. Its world premiere was a flop which the composer Bizet did not live to see. Nevertheless the opera very quickly gained acceptance at all major theatres bringing in its wake countless arrangements of some particularly beautiful music numbers.It was in all probability Bizet's close friend and fellow student Ernest Guiraud who brought 12 numbers of the opera together to form two orchestral suites. After the first Carmen Suite which unites the most beautiful instrumental settings the second suite with arrangements of the best-known vocal pieces is now available as well. Themusical text is based on our new scientific edition of the opera edited by Robert Didion.

This study score is based on the score and complete performance material of Dvorák?s famous Cello Concerto In B Minor (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny.Like every other major 19th-century Cello concerto Dvorák?s concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák?s autograph were written by the cellist Hanus Wihan but Bärenreiter?s edition now reveals that some details in the orchestral parts are also in his writing showing just how closely the twomusicians were working together.The editor Jonathan Del Mar has conscientiously examined every available source including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs for the first time since its initial publication in 1896 Dvorák?s definitive version of the solo part. It differs from previous editions in practically every bar and hundreds of corrections have also been made to the orchestral parts.Includes Dvorák?s final and definitive version of the solo Cello part.Incorporates new discoveries regarding the collaboration between Dvorák and Wihan.With Feuermann?s and Casals?s alternative versions of a passage in the first movement.Detailed Foreword (Eng/Cz/Ger)

A Cantata for Christmas-Composed in both traditional and blended choral stylings this cantata weaves the historic symbolism of both the Lion of Judah and the Lamb of God into the Christmas story. Through original songs and traditional carols singers and listeners are reminded that this story is not just an event in history but a living story that still impacts the world today. Narration solos congregational participation and optional children's voices along with gorgeous orchestrations by Keith Christopher all work together to make this service a time of both celebration and worship. Songs include: Overture/Sing Christmas! And So We Wait It Came upon a Midnight Clear Who's the Little Baby? Sleep Little Lion Sleep Little Lamb Where Is Peace Tonight? In This Moment Angels from the Realms of Glory Carol of the King. Score and Parts (fl 1-2/pic ob cl 1-2 bn tpt 1-3 hn 1-2 tbn 1-2 tbn 3/tba perc 1-2 timp hp pno rhy vn 1-2 va vc db) available as a Printed Edition and as a digital download.

Nous sommes en 1798 une époque sombre et instable de notre histoire. Voleurs et bandits rôdent dans le pays faisant des ravages partout où ils passent échappant souvent à la loi. Mais ce n?est pas le cas lorsqu?ils attaquent le village allemand de Daaden et qu?une vingtaine d?escrocs allemands français et hollandais recherchés depuis longtemps est enfin neutralisée... La Tour Blanche d?Otto M. Schwarz nous invite à prendre part à la planification et la mise en oeuvre de la bataille.

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

Paperback-This edition of Walton's Façade: First And Second Suites For Orchestra has been off-printed from the William Walton Edition full scores. It combines the scholarship of the main edition with the practical benefits of a study score format and includes an introduction by the editor.

Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946) often regarded as the greatest Spanish composer of the 20th century wanted to write an opera based around themes from Chopin whomhe greatly admired. The stage work was never finished; however several attempts have been made to arrange the work for orchestra most successfully by the Catalan conductor Antoni Ros-Marb .Despite its history this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin’s work in general with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.

Par PEPIN CAMILLE. Lorsque l'on m'a demandé d'écrire une ouverture pour la série 'Roulement de timbales', j'ai immédiatement eu à l'esprit quelque chose de vaste et puissant. J'ai alors pensé à la récente découverte de Laniakea, ce superamas de galaxies comptant parmi les plus grandes structures de l'Univers. Découvert en 2014 par Hélène Courtois (1), Laniakea signifie 'paradis céleste incommensurable' en hawaïen. A l'intérieur de ce superamas, les galaxies sont en mouvement et convergent vers un même point appelé le Grand Attracteur. Il faut imaginer des courants de galaxies dont toute la matière se déverse au même endroit - comme au coeur d'une vallée - à une vitesse folle de 630 km/s. Immensité, mouvement, vitesse, lumière... ont été les mots qui m'ont guidée en composant. Ce scénario d'un horizon céleste si grand est une source d'inspiration foisonnante de couleurs pour mon imaginaire d'orchestratrice ! J'ai donc eu l'envie de trouver des résonances musicales à ce monde fascinant de l'infiniment grand. Comme la Symphonie n°103 de Haydn, Laniakea s'ouvre sur un roulement de timbales. Il reviendra durant la pièce sous différents formes : parfois 'à nu', parfois en fond sonore ou encore en relais avec la grosse caisse. Laniakea se présente comme une fresque cosmique articulée en trois épisodes précédés d'une introduction et achevés par une coda. Puissante et majestueuse, l'introduction présente un thème aux cuivres et aux cloches sur un roulement de timbales. Les cordes constituent un 'mur du son' résonnant et vibrant. La matière se transforme progressivement. Les bois se fondent dans les cordes et deviennent liquides. Le thème de cuivres se déployant sur cette texture miroitante devient de plus en plus doux, finit par se dissoudre et laisse place à la lumière. La première grande partie commence par un motif de hautbois, glockenspiel et harmoniques de cordes aiguës : autant de particules lumineuses tentant de percer dans ce ciel immense. Le vibraphone et les bois créent une nappe réverbérante et contribuent à donner à ce passage une couleur céleste et scintillante. La texture devient plus rythmique avec la naissance d'un motif tournoyant et répétitif aux altos. Dans cet épisode hypnotique, le thème de l'introduction est rappelé aux cloches et aux cors. Il s'intensifie. La matière se répand. Glockenspiel et harmoniques - touches lumineuses - sont nimbés de vent stellaire avec le roulement de cymbale suspendue. Un thème plus lyrique et envoûtant apparaît aux violoncelles. Il sera présenté avec différentes couleurs en passant aux violons puis aux altos. L'apparition du glissando mib-ré aux trombones est un signal : nous passons progressivement dans la seconde partie. Le motif rythmique s'éteint et la matière devient de plus en plus nébuleuse. Dans cette partie plus sombre, ce demi-ton est omniprésent : glissé aux cors, en harmoniques chez les cordes, plaintif chez les bois. Ici, j'ai voulu exprimer le mystère de ce Grand Attracteur, de ce glissement vertigineux de matière happée par le vide. Les amas en apesanteur deviennent de plus en plus épais et s'enrichissent. La matière finit par gronder et donne naissance à un passage flottant, brumeux et plus lyrique. Une quinte grave et mystérieuse aux trombones annonce la fin de cette partie. Les trompettes nous rappellent le thème de cuivres de l'introduction. A leurs impulsions correspondent des échos dans les bois - comme la queue d'une étoile filante qui brille encore après son passage. Le dernier épisode est une danse cosmique lumineuse et festive, teintée de couleurs célestes. J'ai imaginé un ballet hypnotique de nuées d'étoiles nimbées de poussière stellaire. Pour créer ce halo lumineux, j'ai animé les fonds par des croches répétées en guise de tenues et de légers soufflets pour leur donner de la vie. En composant, j'ai également eu à l'esprit certaines textures des jeux d'orgue. Cette danse est basée sur un motif rythmique en boucle qui voyage entre les groupes : un ballet étourdissant et hypnotique d'étoiles se déplaçant à des vitesses hallucinantes. Il aboutit à un premier climax lyrique et flamboyant. Un dernier pas de deux d'étoiles se poursuit et exulte en s'embrasant dans un grand crescendo de lumière. Un roulement de timbales soudain nous ramène à l'immensité et la puissance initiales. Cette grande coda nous rappelle que Laniakea est un horizon céleste immense que nous ne pouvons appréhender. Au loin, la lumière s'éteint progressivement. La matière se désagrège et finit par se perdre dans l'espace. Camille Pepin / Date parution : 2020-08-21/ Répertoire / Orchestre

J.S. Bach’s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach’s extremely productive time in Cöthen which ended in 1721. Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the “New Bach Edition”. At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter’s new edition of Bach’s great four suitesnow presents the Urtext as found in the “New Bach Edition” i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a “Violino concertato” part. Urtext editions of these important works. Newly engraved parts and fully realized continuo. For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with “ Violino concertato ” is included. Full scores study scores & performance material available for sale

for Orchestra Full Score. Par PENG-PENG GONG. “In celebration of the 40th anniversary of China-U.S. diplomatic relations and in hope to support the promotion of Chinese culture abroad, Peng-Peng Gong's (b. 1992) Tenth Symphony, subtitled 'Peking Fantasy' (Op. 55) was co-commissioned by the Philadelphia Orchestra and the Shanghai Philharmonic Orchestra in 2017. The world premiere of the 2018 original version was presented by the SPO in April of the same year in Shanghai, while the world premiere of the 2019 revised version was presented by the Philadelphia Orchestra in January at its home venue with the combined forces of both orchestras side-by-side. Inspired by the artistic power of Peking Opera ?the crowning heritage of Chinese traditional performing arts, the symphony strives to translate the emotional and philosophical experience of the art form for international audiences and to explore the Western orchestra's expressive abilities in capturing the Eastern spirit. The 2018 original version ran as long as 76 minutes, before the composer extensively revised the score down to 40 and presented it in a single movement without pause. The work is scored for a huge orchestra of over 100 players. Main materials that inspired the music are from the traditional Peking Opera repertory: The Drunken Beauty, Farewell My Concubine, In Pursuit of the General, and The Chancellor and the Advisor (lit. Cao Cao and Yang Xiu). 'Peking Fantasy' is in a sweet, direct musical language ...It's a work of highly original sounds presented in a series of vivid episodes.” -Peter Dobrin, The Philadelphia Inquirer Please note: this item will be printed at the time of ordering and will ship as soon as possible, usually within 2-3 weeks. / Date parution : 2022-01-18/ Répertoire / Orchestre

Serenade für 13 Instrumente-An announcement in the Wiener-Zeitung read: ?Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. presently in the service of His Majesty the Emperor will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which among other select pieces he will present a grand work for wind-band of a quite special character composed by Herr Mozart.? That this was almost certainly four movements from the present Serenade in B-flat major K.361 is suggested by an account of the occasion published some months later which states ?Today I heard a composition by Herr Mozart in 4 movements for wind ensemble . . . comprising 13 instruments: 4 horns 2oboes 2 bassoons 2 clarinetts 2 basset horns and a contrabass viol. . . .?Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K.361 is striking for its seriousness of artistic content its length (seven movements lasting nearly an hour) and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players not thirteen). If the work was not conceived in the first instance as a concert work its potential as such must have been recognized early on by Mozart or Stadler.- Urtext of the New Mozart Edition- Parts (BA5331-22) and study score format 22.5 x 16.5cm (TP312) available for sale