Sinfonische Fantasie. Par SIBELIUS JEAN. The tone poem Pohjola's Daughter Op. 49 - a ‘ Symphonic Fantasy for Large Orchestra' - was written by Finnish composer Jean Sibelius in 1906. The story is a variation of Orpheus in the Underworld, depicting a hero (Väinämöinen) who spotted the beautiful ‘ daughter of the North' (Pohjola), seated on a rainbow. The hero asked her to join him, but she agreed with the condition that he should be able to perform a number of difficult tasks & most notably, building a boat from fragments of her distaff. However the hero's attempt was in vain, as he was thwarted by evil spirits and injured himself withan axe. He gave up the challenge and continued his journey alone. A study score for Prokofiev's popular Kalevala -inspired symphonic poem Pohjola's Daughter Op. 49, which is ideal for study and perusal usage./ Répertoire / Partition D'Orchestre

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Choralkantate. Par REGER MAX. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of 'O wie selig', or indeed of any performance of it during the composer's lifetime./ Répertoire / Solistes SATB, Choeur SATB, Paroisse, 2 Violons, A

Choralkantate. Par REGER MAX. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of 'O wie selig', or indeed of any performance of it during the composer's lifetime./ Répertoire / Solistes SATB, Choeur SATB, Paroisse, 2 Violons, A

Choralkantate. Par REGER MAX. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of 'O wie selig', or indeed of any performance of it during the composer's lifetime./ Répertoire / Solistes SATB, Choeur SATB, Paroisse, 2 Violons, A

Miguel Alcdzar was born in Mexico City on April 26 1942. He followed a professional career which involved activities in the fields of performance, pedagogy, musicology and composition. He gave the first performances of the Concertino by Blas Galindo, with the composer himself conducting the National Symphony Orchestra of Mexico, the Concierto of Manuel Ponce, in its original version, the Concerto of Michael Horvit, which was dedicated to Alcázar, the Concierto of Enrique Santos, with the American Wind Symphony Orchestra, and the 24 Preludios of Ponce. His recorded output includes music for baroque guitar of music in the manuscript 1560 in the Biblioteca Nacional, works by Bach and Weiss for lute, as well as unpublished music by Ponce and other Latin-American composers. Alcázar has been a faculty member of the Cleveland Institute of Music, the Conservatorio Nacional de Música, where he received his degree with honors in 1972, and later at the University of Veracruz. His publications of Mexican music were published by the Liga de Compositores de Mexico, the University of Veracruz, Tecla Editions of London and Editions Orphée. miguel.jpg (6157 bytes)The 12 Preludios were written by Miguel Alcázar as the result of his first two trips to the Soviet Union. During the first trip, in November-December of 1983, he met Nikita Koshkin during the presentation of Alcázar's work at the Union of Composers in Moscow. A few days later, he promised to write something for him, as a way of commemorating the beginning of their friendship, if Alcázar would write also something for Koshkin. Both agreed upon this and when Alcázar went back to the Soviet Union, for the International Music Festival held in May of 1984, Koshkin gave him The Elves, a suite in five movements. The composition of the 12 Preludios was started during the Christmas vacation of 1984 and terminated by mid-January of 1985. Both works, The Elves and the 12 Preludios were premiered by Alcázar at the Ponce Hall of the Fine Arts Palace in Mexico City on March 15 of 1988.

Variations for the Healing of Arinushka. Par PART ARVO. In 1976, the long silence finally gave birth to music - to the piano miniature Fur Alina. It is clear that, with this piece, Pärt had found himself, and the compositional technique he used then for the first time inspires his oeuvre to this day. The technique, upon which Pärt has bestowed the name Tintinnabuli (Latin for 'little bells'), is achieved not through a progressive increase in complexity, but much rather results from an extreme reduction of the sonic material and from the discipline of limiting oneself solely to that which is essential. (Nora Pärt, Saale Kareda)/ Répertoire / Piano