Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply the idea of the Baroque canon - as exemplified in Bach’s ‘Art of Fugue’ - to modern concepts of tonal colouring. The ‘Motu proprio’ of the 7 mixed groups of orchestral instruments intensifies within 28 short emotional sections to the Baroque ‘Motu contrario’. In ‘Diapason’, literally translated ‘in the octave’ but in the ancient Greek music tradition taken to mean ‘through or across everything’ among other things, the orchestra is arranged into 13 groups according to families of instruments and tonal colour. Schnebel alternately uses the term ‘fugue’ in the strict sense of the Baroque period and in its more general, purely architectonic meaning./ Répertoire / Orchestre

Le Complete Vocal Works Johann Pachelbel est connu aujourd'hui comme un compositeur de musique d'orgue et d'un célèbre canon instrumental qui comporte fréquemment dans les programmes de concert et des catalogues d'enregistrement. Cependant, la même chose peut être dite de seulement quelques-uns de ses compositions vocales. Tout au plus, les motets apparaissent parfois dans la musique d'église répertoire. Les arias de Pachelbel , des concertos vocales et magnificat à grande échelle ont reCu peu d'attention jusqu'à présent .Musiciens d'église et musicologues ont longtemps souhaité une édition critique de ces travaux importants , qui survivent dans le manuscrit de Pachelbel et ont été en grande partie composé de ses principaux lieux de travail , Erfurt et Nuremberg. Comme toujours avec ces entreprises , de nouvelles découvertes sont à prévoir en ce qui concerne le corpus d'oeuvres , du matériel source et le contexte des travaux. Cela concerne non seulement la belle musique, mais plutôt un approfondissement de notre compréhension de Pachelbel comme un personnage clé entre traditions méridionales et centrales allemandes , et la reconnaissance d'une oeuvre qui a tous été trop souvent poussé dans l'ombre par le puissant Bach. / Orchestre

For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks the high point of Schoenberg's expressionistic period, the essence of which he described as renouncing tonal centers and systematic relationships, replacing them with the twelve-tone method he was later to develop, with its dodecaphonic principles. Dethroning tonality and 'emancipating the dissonance' led to a radical change in his understanding of form and the intensity of musical expression beginning in 1907/1908: 'And I am unconditionally approaching a new kind of expression - I can sense it. The sounds now are virtually becoming a bestially direct expression of sensual and intellectual feelings - almost as if everything had been directly propagated.' (Diary entry, March 1912.)/ Répertoire / Récitant et 5 Instrumentistes

Par HAYDN FRANZ JOSEF. Les trois Symphonies de Haydn nos 90 à 92 pourraient en fait être présentées sous l’appellation de «Symphonies parisiennes, seconde partie», car elles sont nées en 1788-1789 également dans le cadre d’une commande de la Société Olympique pour laquelle Haydn avait déjà composé ses six «Symphonies parisiennes» nos 82 à 87 quelques années auparavant. De façon assez amusante, Haydn les vendit ensuite une nouvelle fois au Prince von Oettingen-Wallerstein, qui souhaitait «acquérir 3 nouvelles “Synfonien” de lui». Au-delà de ces complications mercantiles, Haydn se montre, dans ces œuvres, en pleine possession et en pleine maîtrise de son métier de symphoniste. La Symphonie en Mi bémol n° 91 fut, si l’on en croit le manuscrit autographe, terminée en 1788, et surprend – même selon les critères de Haydn – par le nombre de ses particularismes, comme par exemple le thème de contrepoint baroque du premier mouvement, ou les enchaînements de trilles dans le mouvement lent à variations. L’édition d’étude reprend le texte de l’édition complète des œuvres de Haydn, garantissant ainsi la plus haute qualité scientifique. Une préface informative et un bref commentaire critique font de cette partition en format maniable un accompagnateur idéal pour tous les fans de Haydn, ainsi que tous ceux qui souhaitent le devenir./ Répertoire / Orchestre Symphonique

Par HAYDN FRANZ JOSEF. Les douze «Symphonies de Londres» constituent le sublime accord final dans l’œuvre symphonique de Haydn. Elles furent composées pour l’impresario londonien Johann Peter Salomon, et Haydn lui-même en dirigea les créations alors qu’il demeurait pour un certain temps dans la métropole anglaise dans les années 1791-92 et 1794-95. La Symphonie n° 96 en Ré majeur de 1791 fait partie des premières symphonies conçues à Londres, pour Londres. Elle a été postérieurement surnommée «Le miracle», mais ce surnom lui a été affecté par erreur car si un miracle a bien eu lieu, épargnant les auditeurs lors de la chute d’un lourd candélabre sans que personne de l’assistance ne fût blessé, ce fut à l’occasion d’un concert où était jouée une autre symphonie de Haydn. Elle n’en reste pas moins un miracle d’esprit musical: du raffinement des rapports harmoniques des motifs en accords parfaits par lesquels commence chacun des quatre mouvements, jusqu’aux changements d’atmosphère virtuoses résultant de surprenantes modulations harmoniques, Haydn livre ici une véritable parade démonstrative du développement de ses idées musicales. L’édition d’étude reprend le texte de l’édition complète des œuvres de Haydn, garantissant ainsi la plus haute qualité scientifique. Une préface informative et un bref commentaire critique font de cette partition en format maniable un accompagnateur idéal pour tous les fans de Haydn, ainsi que tous ceux qui souhaitent le devenir./ Répertoire / Orchestre Symphonique

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Orchestre

19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German Music Edition Prize 'Best Edition' 2008. Johann Sebastian Bach: Sämtliche Kantaten, Motetten, Choräle und Geistliche Lieder. The complete cantatas, chorales and motets in study editions in 19 volumes. This special edition exclusively offers the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. It is well presented on high quality paper and has a durable sewn binding. A MUST for everyone who is passionate about Bach´s music! No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. Bärenreiter?s unique edition, which encompasses more than 11, 000 pages, includes all cantatas together with the motets, chorales and sacred songs in the Urtext of the ?New Bach Edition? (NBA Series I and III). As a special extra, the recently rediscovered aria ? Alles mit Gott und nichts ohn ? ihn ? is also included. Only available here is an additional volume with an introduction (German/English) by Christoph Wolff and an index. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas, Chorales and Motets in a handy, readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement / Mottet / Répertoire / Partition de Poche

Full Score. Par BERLIOZ HECTOR. Hector Berlioz (1803–1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries — Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven — Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called 'program music' — i. e. , instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these 'program' pieces: the Symphonie Fantastique (1830) and Harold in Italy (1834). Here are the full scores of both major symphonic works — painstakingly reproduced from the authoritative Breitkopf & Härtel edition, available for the first time in one convenient volume — plus Berlioz's 'program' for the Symphonie Fantastique. Musicians and music lovers everywhere will value this high-quality, inexpensive edition — ideal for study and performance. Reprint of Nos. 1 and 3 of Serie I, Symphonien (1900), of Werke von Hector Berlioz, Breitkopf and Härtel, Leipzig, 1900–1910. Breitkopf & Hartel edition./ Répertoire / Orchestre

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre

Par HAENDEL GEORG FRIEDRICH. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions./ Répertoire / Chant et Orchestre