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

Clara Wieck?s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ?it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano?? In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara?s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann?s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann?s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann?s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

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

Bärenreiter's new scholarly-critical edition of Gabriel Fauré's evergreen, the Pavane op. 50, has been edited by Robin Tait as part of the 'Complete Works of Gabriel Fauré?.The popularity of the work is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Fauré began work on a version for choir, which was actually premiered before the orchestral version.This new Bärenreiter edition offers conductors and orchestras a reliable Urtext edition of the 'Pavane's? original orchestral version which will surely enhance symphonic concert programmes everywhere.- First edition of the original version for orchestra- Urtext based on the 'Complete Works of Gabriel Fauré?- Large format orchestral parts (25.5 x 32.5 cm) / Orchestre

Par ARNOLD MALCOLM. Peterloo is the derisive name given to an incident on 16 August 1819, in St Peter's Fields, Manchester, when an orderly crowd of some 8,000 people met to hear a speech on political reform. On the orders of the magistrates they were interrupted by the Yeomanry, attempting to seize the banners they carried, and to arrest their speaker, Henry Hunt. Cavalry were sent in, eleven people were killed and four hundred injured in the ensuring panic. This overture attempts to portray these happenings musically, but after a lament for the killed and injured, it ends in triumph, in the firm belief that all those who have suffered and died in the cause of unity amongst mankind will not have done so in vain./ Répertoire / Conducteur

This collection of 23 holiday favorites will not only motivate beginning string students in the classroom, but will also encourage home chamber music sessions. The flexible format allows the book to be used with any combination of instruments, from a solo player with piano accompaniment to a full string ensemble. Correlated with specific pages in the Strictly Strings method. / Conducteur

The Balkans - where Europe meets Asia...All the cultural diversity of the Balkans is reflected in its varied and colourful music. Hidan Mamudov's selection of pieces from the region, in arrangements for ensemble and separate play-along editions for solo instruments, will provide new experiences for middle-grade players and beyond?The pieces are selected from Turkey, Hungary, Croatia, Bulgaria, Macedonia, Serbia and Bosnia-Herzegovina. Included are fascinating historical notes about the music and descriptions of traditional instruments. Special playing techniques are explained and performance tips will help players achieve an authentic sound. All this, together with the CDs of demonstration performances and play-along tracks is sure to be inspirational. / Orchestre

Serenade für 13 Instrumente. Par MOZART WOLFGANG AMADEUS. An announcement in the Wiener-Zeitung read: “Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. , presently in the service of His Majesty the Emperor, will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which, among other select pieces, he will present a grand work for wind-band of a quite special character, composed by Herr Mozart. ” That this was almost certainly four movements from the present Serenade in B-flat major, K. 361, is suggested by an account of the occasion published some months later, which states, “Today I heard a composition by Herr Mozart in 4 movements for wind ensemble. . . comprising 13 instruments: 4 horns, 2oboes, 2 bassoons, 2 clarinetts, 2 basset horns and a contrabass viol. . . . ” Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K. 361 is striking for its seriousness of artistic content, its length (seven movements lasting nearly an hour), and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players, not thirteen). If the work was not conceived in the first instance as a concert work, its potential as such must have been recognized early on by Mozart or Stadler. - Urtext of the New Mozart Edition - Parts (BA5331-22) and study score format 22. 5 x 16. 5cm (TP312) available for sale/ Répertoire / Partition de Poche

'Realms of Endless Day' is a fantasy setting of the hymn tune melody, 'Picardy.' This melody, thought to have been named for the region in France where it is believed the melody originated, is also the melody for the hymns 'Let All Mortal Flesh Keep Silence' and 'Christians, Let Us Love One Another,' as well as the 'Hymn of Saint James.' This enduring and tuneful melody is given three contrasting statements that gradually build to an exciting conclusion. This piece is scored for full orchestra by arranger Michael Kamuf, but will work quite effectively with strings alone. (3:30) / Orchestre

Par TYSHAWN SOREY. Tyshawn Sorey\'s For George Lewis draws inspiration from The Will to Adorn, a dense work for chamber orchestra by the composers friend, collaborator and mentor George Lewis. Where Lewis\'s score is frenetic, however, Sorey\'s enters into a meditative stasis for most of its 51-minute duration, slowly accumulating and breaking down different sonorities of harmony and colour. Alarm Will Sound, for whom the piece was composed, gave the world premiere in November 2019 at Washington University in St. Louis, Missouri, conducted by Alan Pierson, who also worked closely with the composer to edit this score. Calling for 16 players including a double bass with a fifth string tuned down to A-the score offers extensive performance notes and is available for sale as part of the Peters Contemporary Library, with performance materials available on hire. / Date parution : 2022-09-07/ Répertoire / Orchestre

Slingshot By Michael Story Full Orchestra Conductor Score and Parts Grade: 1.5 Item: 00-47447 One of the most flexible pieces ever written, this powerful original work by Michael Story will provide the opportunity for an entire instrumental program to perform together! Perfect also for a first full orchestra experience with plenty of doubling, it can be performed by string orchestra alone or with almost any combination of winds or percussion. The piano part is also completely optional, as it simply reinforces the string parts. The percussion parts are written for up to five players; however, if you have extra percussionists, you can double as many as you wish on the tom-tom part.