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| Symphony #4 Op. 120
Orchestre
Schott
The New Robert Schumann Edition (RSA) is intended as a historico-critical editio...(+)
The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Orchestre
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| Symphony G Minor -
Appendix A3 / Symphony
Fragments Woo 29
Orchestre
Schott
The New Robert Schumann Edition (RSA) is intended as a historico-critical editio...(+)
The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Orchestre
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| Overtures (SCHUBERT
FRANZ)
Orchestre [Partition]
Barenreiter
New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his sy...(+)
New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D” (D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously.
Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for the first time.
Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works./ Recueil / Orchestre
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| Giulio Cesare in Egitto
HVW 17 (HAENDEL GEORG
FRIEDRICH)
Orchestre [Partition]
Barenreiter
Par HAENDEL GEORG FRIEDRICH. ?Giulio Cesare in Egitto? is by far Handel?s most f...(+)
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
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| Zoroastre - RCT 62 A-B
Symphonies (RAMEAU
JEAN-PHILIPPE)
Orchestre [Conducteur]
Barenreiter
Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the...(+)
Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre
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| Allegro for Double
Orchestra (VIVALDI
ANTONIO / SIEVING ROBERT
(Arr)
Orchestre
Hal Leonard
FROM THE RESPONSORY DOMINE AD ADJUVANDUM ME FESTINA. Par VIVALDI ANTONIO / SIEVI...(+)
FROM THE RESPONSORY DOMINE AD ADJUVANDUM ME FESTINA. Par VIVALDI ANTONIO / SIEVING ROBERT (Arr.). Robert Sieving\'s arrangement of Allegro for Double String Orchestra by Antonio Vivaldi, RV593, originally a motet featuring the vocal setting of Psalm 69 for soprano, 2 oboes, 2 SATB choirs, and double string orchestra, provides the opportunity for two orchestras to perform in opposition and have a musical conversation through fugal writing. Sieving has maintained Vivaldi\'s writing and sound, as the two orchestras battle it out to be the reigning orchestra. Each orchestra and section have interesting parts, with string crossings, minimal shifting, stylistic Baroque bow use, and call and response sections or echo sections. Invite a neighboring orchestra to perform this wonderful double string piece or divide your orchestra in two groups. Such a wonderful addition to our Vivaldi repertoire by Robert Sieving at Level 3. / Date parution : 2022-07-30/ Répertoire / Orchestre
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| Concerto For Orchestra
(BARTOK BELA)
Orchestre [Conducteur]
G. Henle
Par BARTOK BELA. With the “ Concerto for Orchestra , ” Henle inaugurates a s...(+)
Par BARTOK BELA. With the “ Concerto for Orchestra , ” Henle inaugurates a series of affordable study scores based on the text of the Bartók Complete Edition. When Bartók received the commission to compose this piece from Serge Koussevitsky in May 1943, it meant not only financial support, but also an important creative impetus for the gravely ill composer. By October, the five-movement concerto, which Koussevitsky enthusiastically dubbed “the best orchestral work of the last 25 years, ” was already complete. The first performances in the winter of 1944–45 were also very successful. Nevertheless, Bartók was moved to set down an alternate ending, which thecomposer, who passed away in September 1945, would never be destined to hear. Bartók specialist Klára Móricz includes both versions in her edition and summarises the history and transmission of the “Concerto for Orchestra” in a fascinating foreword. A brief commentary section provides information about the principles underlying the edition. / Móricz, Klára / Répertoire / Orchestre
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| BEST OF BACH - ARR. JERRY
BRUBAKER - SCORE and
PARTS
Orchestre [Conducteur et Parties séparées]
Alfred Publishing
From the Birthday Cantata, this familiar tune is filled with the infectious melo...(+)
From the Birthday Cantata, this familiar tune is filled with the infectious melodic material and mesmerizing harmonic content that are so characteristically Bach. The Best of Bach can be played with just strings or by adding any combination of winds up to full orchestra instrumentation. (3:07) / Partitions classique / Ensemble et orchestre / Orchestre / ALFRED PUBLISHING
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