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: BA.BA05822-01
ISBN 9790006567454. 33 x 26 cm inches. Preface: Brown, Bruce Alan.
To conclude Series II (Dance Dramas) from the Gluck Complete Edition (GGA), this volume of Christoph Willibald Gluck's earliest contributions to the genre comprises six ballet scores from 1759 (La Promenade, Les Jardiniers, Les Turcs, Les Savoiards, Les Amours de Flore et Zphire, and Le Suisse) as well as the ballet music for Les Vendanges, which dates from 1761. These works belong to the compositions â also called Krumau ballets because of their musical transmission â which Gluck created in Vienna between 1759 and 1765 for the court theatres in Laxenburg and Schönbrunn as well as the Kärntnertortheater, and which are to be attributed to him as a ballet composer around the middle of the 18th century in Viennese theatre life based on the considerations presented in the general preface.Together with volumes II/3 to II/5, ballet music by Gluck is available whose sources come from the former Schwarzenberg court archive in Ceský Krumlov, Czech Republic, and which until the Velvet Revolution of 1989, lay behind the Iron Curtain remaining largely inaccessible and unexplored by Western scholars. These volumes reflect two fundamental developments in Gluck research: on the one hand, they provide a significantly expanded, historically more accurate idea of what it meant to compose for the ballet in the 18th century; on the other hand, they bring to light an immense treasure trove of sources formerly of Viennese provenance.In addition to the detailed introduction by this volumeâs editor on the ballet choreographies of Gasparo Angiolini and Carlo Bernardi, on the formation of the ballet troupes of the Viennese theatres in Gluck's early years there, on ballet types and genres, as well as a detailed account of the individual titles, the volume includes a general preface to volumes II/3 through II/5 by Bruce Alan Brown, which discusses Gluck's ballet music in Vienna in general as well as the development of research into this genre. Extensive illustrations (partly from the so-called Durazzo Collection) with reference to the choreographies enrich the discussions. The ballet works, which have survived in only one source each, appear in print for the first time in this volume of the Gluck Complete Edition.
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: PR.44641242L
UPC: 680160617531.
August 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.
SKU: AP.45871S
UPC: 038081529608. English.
This multi-cultural piece explores world music using a unique and exciting format. Two side-by-side orchestras share one conductor, with one group performing traditional American songs and the other playing folk songs from the Middle East. A total of eight songs are presented as each section from the two orchestras is featured. As the piece unfolds, what emerges is not only a tapestry of beautiful music, but an intense commentary on the power of music to unite diverse cultures. Whether you split your orchestra in two or combine with another orchestra, Hemispheres by Richard Meyer is sure to educate your students and your audience. A suggested seating chart is included. Also playable by one orchestra in a traditional set-up.
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: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
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).
SKU: BR.DV-4253
Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller
ISBN 9790200440041. 9 x 12 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller Price reduction for a subscription.
SKU: BR.SON-444
ISBN 9790004803523. 10 x 12.5 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller.
SKU: HL.48024880
ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.
This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.
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: BA.BA08841-79
ISBN 9790006541232. 32.5 x 25.5 cm inches.
Prelude a l'apres-midi d'un faune, often referred to as the first composition of the modern era, is one of Debussy's most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and several important ones are drawn upon for the first time in Baerenreiter's new scholarly-critical edition. Most of the currently available editions are based on the first edition from 1895 which, however, contains many engraver errors. When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BR.PB-15154-07
ISBN 9790004215593. 6.5 x 9 inches.
Composed by Manuel de Falla during his lengthy residence in Paris, these three symphonic impressions for piano and orchestra are an expressive work bringing the southern Spanish gardens, which are laid out in the European and Arabic-Moorish tradition, to life. The influence of contemporary French music is noticeable in this composition. Despite many modifications, involving among other things, the scoring, number of movements, as well as layout and content, the basic idea of a nocturnal impression is retained from the outset. The work was finished - and likewise the orchestral material - only shortly before its premiere on 9 April 1916, which was a great success. World War I prevented its publication, though further performances followed, played then from manuscript material. The Urtext edition presented by Ullrich Scheideler takes as the main source the first edition of the score. The Critical Report gives detailed information about the source situation.
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: BR.PB-5558
ISBN 9790004213681. 10 x 12.5 inches.
SKU: SU.28120010
Ballet Suite in 5 movements (revised version)3222; 4331; timp, perc, hp, pno; stgs Duration: 24' Composed: 2008 Published by: Alla Pavlova Music Although it maintains the charm of the original Hans Christian Andersen tale, Alla Pavlova's Thumbelina is a considerable musical, visual and narrative expansion of the story to make it suitable as a full-length ballet and family-programming alternative to The Nutcracker. Musically, it is scored for full symphony orchestra ([3,2,2,2]-[4,3,3,1]-[timp.,perc.]-[Hp]-[Strings], Percussion: Bass dr., Snare dr., Wooden Block, Tambourine, Triangle, Glock., Vibraphone, Celesta) and contains not only many beautiful, lyrical and moving waltzes and other classical themes, but also rhythms such as tango, boogie-woogie and ragtime. Narratively, the story has been adapted to include a varied and colorful cast of characters. The Thumbelina Suite (which has been recorded by the Tchaikovsky Symphony Orchestra for Naxos) can be heard at http://www.allapavlova.com/listen.html or by clicking on the image below. She has created a synopsis of the ballet, which is of course based on the Andersen fairy tale. We’ll gladly send this synopsis on request. Recording: 21st Century Classics – Naxos 8.579003 Performance materials available on rental only:.
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.36-A258102
UPC: 659359527715. English.
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.
SKU: AP.36-A258195
ISBN 9798892701884. UPC: 659359625268. English.
SKU: AP.36-A258193
ISBN 9798892701860. UPC: 659359564956. English.
SKU: AP.36-A258194
ISBN 9798892701877. UPC: 659359823619. English.
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