Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the 'Early Version' BWV 1050a.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility to play theseearlier versions perhaps even along side the version known today.

Score and Parts-In honour of their 75th anniversary the Baltimore Symphony Orchestra commissioned a number of composers who had written major works for them in the past to write short musical 'postcards'. Morton Gould said of his:'Mypostcard is called Minute Plus Waltz Rag; it's a slight take-off on 'The Minute Waltz' but with the 'plus' that it's longer than a minute and combines a waltz with a rag pattern in 5/8 time. I wasn't consciously thinking of 1916when I wrote it but it does actually reflect a flavour of that time.' This is the Schirmer edition of the Score and Parts.

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

The première of Daudet's play L'Arlésienne with incidental music by Bizet at the Théâtre du Vaudeville on 30 September 1872 was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber however was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion for the première of the first Arlésienne suitetook place only six weeks later at the Concerts populaires on 10 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Thus before his death in June 1875 Bizet had the satisfaction that his suite from L'Arlésienne was played by all the major concert societies in Paris and it has remained firmly in the concert and recorded repertoire ever since.

Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives.  Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating.  One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence.  Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)

Ballet-Bernstein’s first composition in the genre Fancy Free composed in 1944 became extremely popular. The story of the ballet is fairly simple and was later reused by Bernstein in On The Town his popular first Broadway musical. The story devised by Jerome Robbins takes place in New York City where three sailors on shore leave meet three girls in a bar who they dance with and end up fighting over. They soon realize they were foolish to let the women become between their friendships.The music is based on a considerable number of popular styles of the day. At the beginning you hear Big Stuff a popular hit Bernstein later recordedas a single and made famous by Billie Holiday. Bernstein’s music is comprised of a fusion of different genres from Latin-American to Popular and Classical to Jazz all of which are footprints in his inimitable style.Available here as part of the Hawkes Pocket Score edition (No.1135) is the Study Score for Bernstein’s popular ballet Fancy Free.

Karsten Fundal's Entropia for Large Orchestra Soprano and Baritone soli Large Choir and Chamber Choir (SATB) and prerecorded sound (1997-2001). Commissioned by the Danish National Symphony Orchestra and Choir / DR. Parts are available on hire: hire@ewh.dk About Entropia: This orchestral work is chiefly an attempt to make a musical investigation into the complex question of the nature of time. The viewpoint taken on a philosophical level is chiefly inspired by the brilliant thinker and philosopher of time J.F. Fraser. The main conclusion of his investigation of the subject is in very short that the onlyadequate view to take of time as a phenomenon with all the knowledge that we have today is that time must be seen as a conflict or at least an interference between many different “temporal levels” (...) Karsten Fundal  

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility toplay these earlier versions perhaps even along side the version known today.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.5 in D Major BWV 1050. Includes the ''Early Version'' BWV 1050a.The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications taken from the New Bach Edition now give performers the possibility toplay these earlier versions perhaps even along side the version known today.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.2 In F BWV1047. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside the version knowntoday.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.2 In F BWV1047. The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach’s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlierversions perhaps even along side the version known today.

The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach?s appointment in Cöthen.Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form.These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside the version known today.Full scores study scores and performance material available for salefor all 6 concertos.

Op. 45 Nr. 3-Dvorák composed his ?Slavonic Rhapsodies? Op.45 in 1878 initiating his so-called ?Slavonic period?. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major G minor and A-flat major) appearing under the same opus number.Now the ?Slavonic Rhapsodies? are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák?s authorised first edition as his principal source.A work that initiated Dvorák?s so-called ?Slavonic period?New Urtext edition incorporating every known sourceForeword (Eng/Cz/Ger) and Critical Commentary (Eng) by theeditorFull score and parts (BA10403) available for sale

Par SAINT-SAENS CAMILLE. “In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where itreceived its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of “Camille Saint-Saëns - Complete Edition of the Instrumental Works”. This performing Urtext edition is based on volume BA 10303 from that series. - First scholarly-critical edition of this famous symphony based on “Camille Saint-Saëns – Complete Edition of the Instrumental Works”- Now with separate parts for all winds- Orchestral parts in a large format (25. 5 cm x 32. 5 cm) ; In this work I gave everything I had to give. [… ] What I did here I will never do again. Camille Saint-Saë ns was justifiably proud of his Symphony No. 3 in C minor Op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called ; Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marksthe launch of a large-scale project: the publication of Camille Saint-Saë ns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saë ns & Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25. 5 cm x 32. 5 cm) / Niveau : 5 / Répertoire / Orchestre