Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score

Vocal score. Par MORRIS CHRISTOPHER. Une collection de 34 hymnes couvrant toutes les saisons de l'année de l'église./ Recueil / Chant

Par HAENDEL GEORG FRIEDRICH. G F Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. He is credited with popularising opera in Britain, both importing Italian works, and composing his own. Giulio Cesare was composed in 1723-4 and first performed at the King's Theatre, Haymarket, London in February 1724. It remains today one of the most popular of Handel's Italian language operas, enjoyed for its many gorgeous melodies, inspired orchestration and exciting plot. Musicians, scholars and music lovers will welcome this handsome reprint of the full score of Giulio Cesare, reproduced complete andunabridged from the definitive Deutsche Handelgesellschaft edition./ Répertoire / Opéra Full Score

Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has been shaped by an unusually diverse range of experiences, including studies with Stockhausen in Cologne, field trips to South Africa to study traditional music, his own involvement with the New Simplicity movement, his collection of contemporary art and African textiles, friendships with composers like Morton Feldman and Gerald Barry, as well as a love of virtuoso piano music which he performs, broadcasts and records. While having an easily recognised, unique voice, Volans' music resists compartmentalisation. He is as comfortable working in conventional genres as embarking on innovative collaborations with artists of other disciplines.String Quartet #1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986, London.The title 'White Man Sleeps' comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep - for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music - the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled 'The nyanga Panpipe dance' in African Music, Vol.5, #1 (1971) - the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself - in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist - it is played in Western tuning, filtered, slowed down by a few 'time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)

The Just Standards Real Book contains 250 classic songs, from show tunes to jazz standards, that are the core required repertoire for musicians all over the world. Production teams in both the U.S. and the U.K. took great care to ensure the accuracy and usability of each arrangement and original composer sources were consulted to ensure that the arrangements remained true to the composers' intentions. Plus, useful and important chord substitutions are indicated for each arrangement, allowing the user to pick from the original chords or the more popular jazz versions. Each book in the series is extensively cross-referenced with a complete composer index, discography of suggested recorded versions for each song, a section on how to play from a fakebook, chord theory reference pages, and a section on how to create interesting chord substitutions. Comb bound, approx. 400 pages. / Instrumental Music, Miscellaneous, Scores, Songboo / Recueil / Instruments en Do / C

Trois poèmes d'Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb, conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choir and an orchestra similar to that of the Symphony of Psalms, though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first, and only then did he choose the three poems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat, with its onomatopoeic invented words, dates form the 1920s- the other two texts, which are more philosophic than pictorial, form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will be more useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony, which brass sforzandi punctuate with increasing frequency, frames the beginning and end of Pensées. After the choir's first unaccompanied passage, the woodwind have a staccato section over which the female voices, singing downward glissandi, are superimposed ('Ombre de mondes infimes?'). Then the woodwind and both pianos join in a lapping ostinato which illustrates the text of the next forte choir entry 'Pensées à la nage merveilleuse?' The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of a gamelan-like ensemble of vibraphone, céleste, harp and pianos. / Orchestre

20 original compositions for C instruments including Mare Nostrum, Blue Silence and The Poet. Par LUNDGREN JAN. Jan Lundgren, born in 1966 in southern Sweden, is part of an impressive, long tradition of Swedish star pianists and is considered a pioneer of the emancipation of European jazz from American jazz. Lundgren as well as Bobo Stenson or Esbjörn Svensson have decisively shaped the sound of Scandinavian jazz with their compositions. This collection of 20 original compositions represents the pianist's personal selection. These are not transcriptions, as it is often the case, but all the notes correspond to the musician's original handwritten scores. Lundgren writes in his foreword to the songbook: ''It is important to me to give those who play my music as much space as possible to express themselves freely. For this very reason, my own recordings of these compositions often deviate from the original sheet music in terms of harmonies and melodies.'' All the sheet music is available as lead sheets for C instruments, allowing ensembles as well as solo artists to interpret Lundgren's compositions in their own way. In addition to Lundgren's personal selection of works, the music book contains a foreword in Swedish, German and English, a detailed biography in German and English and several portraits of the composer./ Recueil / Instruments en Do / C

Arrangeur: R. Duckett. Par DUCKETT RICHARD / LOANE C.. Team Woodwind is designed for everyone who wants to learn to play woodwind. This method: presents a flexible course which can be tailored to suit each student is ideal for individual, group or class tuition contains plenty of carefully graded music in a wide variety of styles encourages ensemble playing with varied repertoire for mixed wind group and integrates with ensemble music in Team Strings, Team Brass, Team Recorder and Team Percussion offers more than 40 pieces which can be played in unison between flute and clarinet contains over 50 well-known titles selected from the worlds of pop, jazz and the shows, as well as traditional and folk material provides imaginative piano accompaniments for selected pieces and chord symbols where appropriate develops instrument-related aural skills, improvisation and composition offers helpful notes for the teacher, together with clear ensemble scores. / Niveau : Débutant / Méthode / Clarinette

Par DUCKETT RICHARD / LOANE C.. Team Woodwind is designed for everyone who wants to learn to play woodwind. This method: presents a flexible course which can be tailored to suit each student is ideal for individual, group or class tuition contains plenty of carefully graded music in a wide variety of styles encourages ensemble playing with varied repertoire for mixed wind group and integrates with ensemble music in Team Brass offers more than 40 pieces which can be played in unison between flute and clarinet contains over 50 well-known titles selected from the worlds of pop, jazz and the shows, as well as traditional and folk material provides imaginative piano accompaniments for selected pieces and chord symbols where appropriate develops instrument-related aural skills, improvisation and composition offers helpful notes for the teacher, together with clear ensemble scores./ Méthode / Basson

Symphonic Fragment for Orchestra. Par SHCHEDRIN RODION. Emotional depth and riveting virtuosity - these elements are what characterise many compositions by Rodion Shchedrin. Even though he has been a cosmopolitan for a long time, the Moscow-born Shchedrin has remained an original Russian composer whose bond with the musical folklore and poetry of his home country has never been severed. This 'Symphonic Fragment', premiered by Mariss Jansons with the Symphony Orchestra of the Bavarian Radio, refers to the life of Beethoven and the first major existential crisis of the then 31-year-old composer from Vienna. Even if Shchedrin fails to include explicit quotations, suggestions of Beethoven's 'Eroica' can well be found. The study score on sale now allows one to become thoroughly acquainted with Shchedrin's masterly skills as a composer and his virtuoso treatment of the orchestra in this work./ Répertoire / Orchestre