Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Overture; Classical. Full
score. 68 pages. Duration
13'. Breitkopf and
Haertel #PB 5142.
Published by Breitkopf
and Haertel (BR.PB-5142).
ISBN 9790004208878. 10
x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Concert Overture No. 1
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Hans Christian
Schmidt. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Christian Martin Schmidt
is laying bare to musical
practice the original
form of Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time. Overture;
Romantic. Full score. 72
pages. Duration 12'.
Breitkopf and Haertel #PB
5364. Published by
Breitkopf and Haertel
(BR.PB-5364).
ISBN
9790004211458. 10 x 12.5
inches.
Autograph
lays bare Mendelssohn's
Overture to A Midsummer
Night's Dream To this
day, Mendelssohns
epoch-making Overture to
A Midsummer Night's Dream
has been performed on the
basis of a more than
dubious transmission.
Neither the first edition
of the parts (1832), and
certainly not the print
of the score based on
these parts (1835) go
back directly to the
autograph of the
17-year-old composer,
which is now located in
Krakow. No wonder, since
Mendelssohn had breezily
given away his original
at an early date. The
result: during his
lifetime, versions were
published with his
authorization, even
though they were full of
unintended
inconsistencies. Yet the
autograph of 1826 is
unequivocal: it is clear,
practically free of
irregularities and
diverges considerably
from the corrupted
printed version.
Christian Martin Schmidt
comes up with
occasionally differing
musical passages, but
above all with logical
and compositionally
compelling performance
instructions, laying bare
to musical practice the
original form buried
beneath layers of
falsified material for
the first
time.
Christian
Martin Schmidt is laying
bare to musical practice
the original form of
Mendelssohn's
epoch-making Overture to
A Midsummer Night's Dream
buried beneath layers of
falsified material for
the first time.
ISBN
9790006523351. 33 x 24 cm
inches. Preface: Denis
Herlin. Text:
Charles-Antoine Leclerc
de La
Bruere.
“Dard
anus†is
Rameau’s third
“Tragdie
lyrique†composed
for Paris after
“Hippolyte et
Aricie†and
“Castor et
Polluxâ€. With its
multi-facetted music it
represents quite a high
point of this genre. Its
performance history is
remarkable in that within
only five years two
clearly different
versions were being
performed.
The new
critical edition by Denis
Herlin for the first time
offers the possibility to
reconstruct the version
of May 1744 in addition
to the version of 1739.
Also, the Appendices
include the complete
performance material of
the version of April
1744, many parts of which
could not be heard since.
Last but not least the
changes of the successful
re-staging of 1760 are
presented.
This
performing edition
contains all the purely
instrumental numbers of
the opera in their
various versions. Apart
from the preludes and
ritornellos, these are
above all the diverse
dance numbers.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
1st
and 2nd Version -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
3
Work Stages, 2 Versions,
1
Edition
,,…
the musical text is fine.
This is a valuable
improvement. (Clifford
Bartlett, Early Music
Review)
Symphony;
Classical. Study Score.
80 pages. Duration 35'.
Breitkopf and Haertel #PB
5566-07. Published by
Breitkopf and Haertel
(BR.PB-5566-07).
ISBN
9790004213766. 6.5 x 9
inches.
With the
new edition of the
G-minor Symphony, a vital
work group in Mozart's
oeuvre is now complete:
the three late symphonies
K. 543, 550 and 551, now
available in Urtext
editions. As in his new
edition of the Hafner
Symphony, Henrik Wiese
uncovers in the present
Breitkopf Urtext score
three different stages in
the genesis of the
G-minor Symphony. Mozart
initially wrote the work
without clarinets (1st
stage), and then he added
the clarinets (2nd
stage). Not until a final
stage did he change the
wind instrumentation in
the Andante (3rd stage).
Mozart thus returned to
the 1st version again
after completing the 2nd
version (with clarinets).
This advances the
importance of the 1st
version without clarinets
as Fassung letzter Hand.
A compelling insight
which sheds new light on
the famous G-minor
Symphony. Both versions
are of equal value and
can now be compared with
one another, studied and,
above all, performed for
the first time ever
thanks to the new score
and parts.Another
extremly practical aspect
that should be noted: the
orchestral parts offer
solutions for all the
problematic page turns
for the first time ever
(please see the sample
pages of OB 5542 - Violin
II.),,... the musical
text is fine. This is a
valuable improvement.
(Clifford Bartlett, Early
Music Review)
Orchestra SKU: BT.YKM570369270 Composed by Robert Saxton. Score Only. Com...(+)
Orchestra
SKU:
BT.YKM570369270
Composed by Robert
Saxton. Score Only.
Composed 2021. 70 pages.
University of York Music
Press #YKM570369270.
Published by University
of York Music Press
(BT.YKM570369270).
A Hymn to the
Thames was commissioned
by James Turnbull and the
Music Director of the St
Paul’s Sinfonia, Andrew
Morley. It was begun in
2019 and completed early
in 2020. There are four
movements played without
a break, which follow the
Thames from its Cotswold
source to the North Sea.
As the first performance
took place in St
ALfege’s Church,
Greenwich, this seemed
appropriate. The solo
oboe represents both a
wanderer along the river
path and the spirit of
the river. The pitch
centres of the movements
spell out the musical
letters of the river
(tHAmES—B natural, A, E
and E flat) so that the
river’s name is
projected across the
whole work. In addition,
the musical letters found
in James Turnbull, Andrew
Morley and my wife,
Teresa Cahill ( who was
born in Maidenhead and
brought up by the river
in Rotherhithe) are
entwined in various
guises. The first
movement grows from the
depths, the soloist
entering with
fanfare-like gestures,
followed by lyrical music
and breaks into a dance
as the river gathers
momentum. The third
movement is slow and
sustained and
geographically the Thames
flows through Oxford. The
music is based on the
well-known In Nomine
‘head motif’ from the
Gloria tibi Trinitas Mass
by the early Tudor
composer, John Taverner,
who was the first
Director of Music at
Christ Church, Oxford.
The orchestra provides a
screen or veil above
which the solo oboe
dreams and ruminates.
This leads directly into
the fourth and final
movement which begins in
the depths once more,
interrupting the oboe’s
held note from the end of
the third movement. The
waters’ increasing
intensity and power are
represented throughout by
a moto perpetuo of quick,
steady semiquavers. Near
the close, the woodwind
play O Nata Lux by Thomas
Tallis, the great Tudor
composer who, with his
wife Joan, is buried in
St Alfege’s. Beneath
this, the lower strings
continue the fast
semiquaver movement of
the river and, above, the
violins are heard as a
halo of harmonics. At the
close, the oboe rises,
opening out to the
future, and celebrating
its voyage, while the
orchestra fades as the
river meets the sea. A
Hymn to the Thames lasts
approximately 17
minutes.
Full orchestra SKU: LO.30-3827MD Choral. Sacred Anthem, Christmas. Orches...(+)
Full orchestra
SKU:
LO.30-3827MD
Choral.
Sacred Anthem, Christmas.
Orchestral score and
parts. Medallion Music
#30/3827MD. Published by
Medallion Music
(LO.30-3827MD).
UPC:
000308157437.
Orche
stral Score and Parts for
Holy Is the Child With a
sense of mysterious
wonder, this soaring
ballad rejoices in the
birth of Jesus. The
dynamic orchestration
drives this piece into a
powerful climax before
coming to a thoughtful
conclusion. Glory to God
in the highest. Peace on
earth; the time has come.
Heaven above shown down
its holy love King of
Kings, Lord of all..
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
O Holy Night Orchestre [Conducteur] - Facile Belwin
Orchestra - Grade 3 SKU: AP.40424S Composed by Adolphe-Charles Adam. Arra...(+)
Orchestra - Grade 3
SKU: AP.40424S
Composed by
Adolphe-Charles Adam.
Arranged by Jeffrey E.
Turner. Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Christmas;
Light Concert; Sacred;
Winter. Score. 8 pages.
Belwin Music #00-40424S.
Published by Belwin Music
(AP.40424S).
UPC:
038081451183.
English.
An
enchanting arrangement of
this beautiful classic!
Written in 3/4 for young
players, it starts with a
solo cello accompanied by
delicate strings above,
evolving into the full
string orchestra
majestically singing
praise like angels from
above. An optional
percussion part is
included for added
drama.