Par MAHLER GUSTAV. 'The songs are conceived as a whole, as if a wayfarer, with his destiny, is now looking out into the world and is wandering from place to place. … The most painful experiences were bound to come…' (Gustav Mahler, 1885) Mahler's famous set of four songs for voice and orchestra is newly available in the handsome UE Study Scores format. Gustav Mahler's 'Lieder eines fahrenden Gesellen' ('Songs of a Wayfarer') occupy a special position in his song oeuvre. Subsequent to the 'Frühe Lieder und Gesänge' ('Songs and Airs') which - with the exception of the 'Serenade' and 'Phantasie' from Don Juan - were composed between 1880 and 1882 as songs for piano and voice, the 'Gesellenlieder' ('Wayfarer Songs') were the first works to be presented in the dual versions (songs for piano and voice / orchestral songs) that were so significant for Mahler's song compositions. The 'Gesellenlieder' were initially written as songs for piano and voice between late 1884 / early 1885 and 1890, and Mahler's orchestration only followed in the years between 1890 and 1893. Another unique feature is that they were explicitly conceived as a song cycle and together with the 'Kindertotenlieder' ('Songs on the Death of Children') and possibly also the 'Lied von der Erde' ('Song of the Earth') - although the latter is far more akin to a symphony - these are the only song cycles in Mahler's song oeuvre. The 'Gesellenlieder' ultimately express the subjective experience of suffering in a particularly remarkable way./ Répertoire / Voix et Orchestre

These ten Rachmaninoff songs, transcribed in 1963 for voice and orchestra by Vladimir Jurowski (senior), were revived in Sweden in 2011 conducted by his son Michail, and songs from the collection have since been programmed by Andris Nelsons with the Tonhalle Orchestra and Michail Jurowski with Dresdner Philharmonie. The complete collection is to be performed in April 2015 by the London Philharmonic Orchestra, conducted by the arranger's grandson Vladimir Jurowski. / Voix Et Orchestre

Le 'Köchel' indique toujours l'autographe d'air de Mozart tant apprécié, mais a étiqueté 'manquantes' depuis 1964. La 'Neue Mozart Ausgabe-' n'était donc plus en mesure de prendre en considération. Maintenant, cependant, le manuscrit a réapparu et a été utilisé comme une source authentique pour cette nouvelle édition (1997).préface'Eine Aria in die Oper, der von Balbier Seviglien. Für MADAME Hoffer. 2 Violini, viole, 2 Clarinetti, 2 Fagotti, 2 Corni e Bassi. Schon lacht Frühling der Holde.' Cette entrée dans le catalogue de Wolfgang Amadeus Mozart travail manuscrite se trouve sous la date du 17 Septembre 1789. Toutefois, étant donné que la performance prévue d'un accord allemand de Barbier de Paisiello a été apparemment abandonné, Mozart semble avoir mis de côté la pièce sans l'achever. Josepha Hofer (née Weber), le plus jeune soeur Constanze Mozart, était d'avoir chanté cet air, destiné à Rosina. En tant que membre de la Freihaustheater Schikaneder, elle a chanté la Reine de la Nuit à la première représentation de la Flûte enchantée.En plus de la partie vocale, le score fragmentaires ne contient que la ligne de basse ainsi que des répliques instrumentales pour une orchestration avenir. La version de l'éditeur orchestralement complété, délivré par le même éditeur, est basé sur le manuscrit autographe conservé à la Österreichische Nationalbibliothek à Vienne. Cette autographe a été redécouvert qu'en 1988. Nous avons poursuivi nos efforts pour fournir un son mozartien dans la réalisation instrumentale de la partition tout en préparant cet arrangement pour soprano, clarinette et piano. Depuis la première clarinette tisse à plusieurs reprises autour de la partie de soprano dans thr version orchestrale, il semblait parfaitement naturel producc l'arrangement actuel. En outre, il apportera inévitablement à l'esprit de Franz Schubert Der Hirt auf dem Felsen (même clé, section du milieu en sol mineur).Nous tenons à remercier la Österreichische Nationalbibliothek à Vienne pour mettre des copies de la source à notre disposition.Franz BeyerMunich, printemps 1997 / Voix Et Orchestre

Arrangeur: Ilkka Kuusisto. Langue: Swedish, Finnish, English,/ Recueil / Voix et Orchestre

Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn's contemporaries frequently mentioned his 'Hymn of Praise” in the same breath as Beethoven's Ninth - and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name 'symphony-cantata”. Later he added a secular counterpart with 'Die Erste Walpurgisnacht”. Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work's performance, e.g. tempo, articulation and dynamics. For the first time the piano reduction includes Mendelssohn's authorised version of the 'Sinfonia”, based on the first edition of No. 1 for piano solo./ Répertoire / Chant et Orchestre

Full Score. Par BEETHOVEN LUDWIG VAN. Beethoven described his grandly conceived 'Missa solemnis” as 'my greatest work” and sold manuscript copies to some of the subscribers even before it had appeared in print. This Urtext edition takes into account all the sources including the old and the new complete editions whose relationship is clearly explained in a stemma. In several passages the renowned Beethoven specialist Barry Cooper has arrived at variant readings, such as in the 'Sanctus”, where the choir enters instead of the soloists, rather than coming in at 'Pleni sunt coeli”. No less worthy of mention is the addition of the soloists to the choir in most of the 'Credo”. These matters and many other editorial decisions are documented in the detailed Critical Commentary (Eng). The appendix contains Beethoven's arrangement of the Gregorian chant 'Tantum ergo” for the first time. This was composed at the same time as the 'Missa solemnis” and most probably stands in a close relation to it. This edition is designed for everyone seeking a combination of a reliable musical text and well-founded editorial suggestions for a successful performance of this masterpiece./ Répertoire / Voix et Orchestre

For Female Voice And String Orchestra. Par ZEBELJAN I.. Italian / Musique contemporaine / Répertoire / Voix et Orchestre

Loops for Werner. Par LANG BERNHARD. / Date parution : 2023-06-01/ Répertoire / Voix et Ensemble

De T. Klingsor. Par RAVEL MAURICE. Vers De T. Klingsor, Textes Francais Et Anglais, English/ Répertoire / Chant et Orchestre

Per Orchestra I, Orchestra Ii E Voce Femminile - Partitura. Par RENOSTO P.. Langue: English(UK)/Deutsch/Français/Nederlands / Musique contemporaine / Date parution : 1905-05-24/ Répertoire / Voix et Orchestre

Par FAURE GABRIEL. This volume of 'oeuvres complètes de Gabriel Fauré” contains Fauré's four secular choral works in their orchestral arrangements, namely 'Les Djinns”, 'La Naissance de Vénus”, 'Madrigal”, and 'Pavane”. These works were composed between 1876 and 1887 - thereafter Fauré wrote choral compositions based only on sacred texts. The first three works are presented here for the first time in a full score edition, previously having been published only in their versions with piano accompaniment. This edition is therefore the first to present the works with an authoritative musical text based on the careful study of the sources. 'Les Djinns” (1876-76) for mixed choir and orchestra is based on the famous poem by Victor Hugo first published in the collection 'Les Orientales”, while 'La Naissance de Vénus” (1882) for soloists, choir and orchestra is based on a text by Paul Collin. 'Madrigal”, the orchestral version of which cannot be dated with certainty (around 1891, for a quartet of soloists or choir) has been composed after a poem by Armand Silvestre, and the famous 'Pavane”, originally composed for orchestra and only later supplemented with a text by Symbolist poet Robert de Montesquiou, is presented here in an elegant, graceful version with mixed choir. / Date parution : 2019-06-20/ Répertoire / Chant et Orchestre

Trop modeste, Olivier Alain ne se soucia jamais de sa propre promotion et ne chercha point à faire connaître ses productions musicales ou littéraires. Son catalogue musical comporte 170 no d'opus. Bien que l'influence familiale se fasse sentir, Olivier Alain écrit dans un style très personnel, usant d'un langage musical différent de celui de son frère Jehan. Au sein de la famille Alain, Olivier est un compositeur d'une grande originalité : ses oeuvres, de haute qualité, méritaient vraiment d'être éditées. / Voix Et Orchestre