Ed. Critica A Cura Di Matteo Giuggioli. Par RICCI FRANCESCO PASQUALE. Francesco Pasquale Ricci straddled two worlds: Italy, his homeland, where he received his education and where he had his first professional experiences, and Europe, which would be the stage of his bold artistic affirmation and the consolidation of a vast and complex network of personal relationships. Ricci’s European excursion, occasionally interrupted by visits to Italy, lasted sixteen years. While not as lengthy as that of many of his countrymen and ending, unlike the careers of many Italians, with a definitive return to the land of his birth, his European travels were no less important for his career. Thanks to this experience, Ricci was able to establish an internationalreputation and find, on a personal level, the stimulus and the occasions to bring to maturity his personality as a composer, filled with the aspirations and contradictions typical not only of artists, but of all creative men of his time. In this critical edition, 12 symphonies have been chosen in order to illustrate characteristics and general problems related to the entire corpus of these works. The Archivio della Sinfonia Milanese series is intended to bring together the symphonic repertoire in eighteenth-century Lombardy to encourage experts to study it, musicians to perform it and draw the attention of a wider audience. In particular, the series intends to publish the major works by progressive, European-oriented composers of the period from Milan or who were active there and in the Lombardy area, giving pride of place to compositions which have not yet been published in our time. / Niveau : Intermédiaire / Musique contemporaine / Date parution : 1905-07-09/ Répertoire / 2 Violons, Alto, Hautbois, Cor et Basse Continue

Chinesische Lieder. Par PENDERECKI KRZYSZTOF. The history of the symphony is full of curiosities, ranging from works that are extremely long or scored for extensive instrumental forces to those of dubious authorship. There are also famous symphonies labelled as No. 0, works with alternate or multiple opus numbers, and a wealth of ‘unfinished’ symphonies. Krzysztof Penderecki’s 6. Sinfonie can also be included in this category, since his Seventh and Eighth were completed decades ago. This work is comprised of eight songs on Chinese texts connected by solo intermezzos played on the Chinese stringed instrument, erhu. As in his two preceding works, the focus here is on vowels. This work, however, is scored for smaller orchestral forces and possesses a more intimate chamber music character, at times with greater melancholy than before. Penderecki has declared this symphony to be his farewell from the genre, although we know from experience that anything is possible with symphonies./ Répertoire / Baryton et Orchestre

This piece captures the excitement of setting sail on the open waters. There is ebb and flow as the ship begins the journey, but there are a few anxious moments as the weather becomes more threatening. All is well, however, as the ship continues smooth sailing for the remainder of the journey. (2:05) / Concert Band

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.

Par CURNOW JAMES. The suite format and descriptive nature of snapshots allows Grade 2. 5 bands to handle a relatively large sized piece and have the fun of exploring myriad moods and styles. There are valuable geographical and historical considerations for cross-curricular teaching, and the sheer “enjoyability” of this one is undeniable. In Movement 1, early explorers witness the grandeur and expanse of the largest fresh surface water system on earth. In Movement 2, wavelets gently lap on the shores of beautiful beaches while happy families enjoy a sunny afternoon, and Movement 3 explores the ships and boats of every description which have navigated these waters for centuries. While thisexceptional piece is entirely different, if you enjoyed James Curnow’s previous Grade 2. 5 suites, you really should focus some attention on SNAPSHOTS. You won’t regret it. / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie

Par CURNOW JAMES. The suite format and descriptive nature of snapshots allows Grade 2. 5 bands to handle a relatively large sized piece and have the fun of exploring myriad moods and styles. There are valuable geographical and historical considerations for cross-curricular teaching, and the sheer “enjoyability” of this one is undeniable. In Movement 1, early explorers witness the grandeur and expanse of the largest fresh surface water system on earth. In Movement 2, wavelets gently lap on the shores of beautiful beaches while happy families enjoy a sunny afternoon, and Movement 3 explores the ships and boats of every description which have navigated these waters for centuries. While thisexceptional piece is entirely different, if you enjoyed James Curnow’s previous Grade 2. 5 suites, you really should focus some attention on SNAPSHOTS. You won’t regret it. / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band