Par SPOLIANSKY MISCHA. Spoliansky worked on Symphony over the course of three decades, from 1941 to 1969. It proves to be a very interesting historical document. Some passages are harbingers of orchestral composition techniques now well known in film music, while others evoke the music of the heyday of revue theatres. In his oeuvre Symphony counts as the only symphonic work and can be considered a programmatic symphony or, perhaps more appropriately, music for an imaginary film. / Date parution : 2022-04-05/ Répertoire / Orchestre

Par HAYDN JOSEPH. Only eleven of the over one hundred symphonies by Joseph Haydn are composed in a minor key. Written in the early 1770s, the Symphony Hob.I:52 in C minor bears some similarities to the slightly earlier Symphony in E minor Hob.I:44 (?Mourning?, BA 10988), not only because they both are composed in a minor key but also because they both feature a pair of horns tuned at different pitches. Haydn seems to have experimented with differently tuned horns inspired by an article in Johann Adam Hiller?s journal ?Musikalische Nachrichten und Anmerkungen? of July 1770, which suggested to tune the horns a minor third apart in order to expand the total horn range. While Haydn followed this recommendation just like that in the E-minor symphony, he chose to have the horns tuned a major sixth apart (high C and E-flat) in the outer movements of the C-minor symphony Hob. I:52, resulting in an unusual horn sound within the orchestral texture. In continuation of the collaboration between Bärenreiter and G. Henle Verlag, this edition is based on the Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag. - Urtext of the Complete Edition ?Joseph Haydn Works? published by G. Henle Verlag - Orchestral parts in a large format (25.5 cm x 32.5 cm) / Date parution : 2022-11-08/ Répertoire / Orchestre

Trois poèmes d'Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb, conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choir and an orchestra similar to that of the Symphony of Psalms, though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first, and only then did he choose the three poems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat, with its onomatopoeic invented words, dates form the 1920s- the other two texts, which are more philosophic than pictorial, form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will be more useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony, which brass sforzandi punctuate with increasing frequency, frames the beginning and end of Pensées. After the choir's first unaccompanied passage, the woodwind have a staccato section over which the female voices, singing downward glissandi, are superimposed ('Ombre de mondes infimes?'). Then the woodwind and both pianos join in a lapping ostinato which illustrates the text of the next forte choir entry 'Pensées à la nage merveilleuse?' The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of a gamelan-like ensemble of vibraphone, céleste, harp and pianos. / Orchestre

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

Par RIMSKI-KORSAKOV NICOLAI. A towering figure among Russian composers of the late 19th century, Rimsky-Korsakov was one of music’s master orchestrators. The 3 works in full score in this collection, Dance of the Buffoons, Capriccio Espagnol, Russian Easter Festival (Overture), display his mastery of orchestration. They are reproduced from early authoritative scores./ Répertoire / Orchestre

Par KODALY ZOLTAN. Galánta is a small Hungarian market-town known to the travellers from Vienna to Budapest. The composer has passed there seven years of his childhood. There existed at that time a famous Gipsy-band which has disappeared in the meantime. Their music was the first 'orchestral sonority' which came to the ear of the child. The forbears of these gipsies were known already more than hundred years ago. About 1800 some books of Hungarian dances were published in Vienna, one of which contained music 'after several gipsies from Galantha'. They have preserved the old Hungarian tradition. In order to continue it the composer has taken his principal subjects from these ancient editions. (Zoltán Kodály, 1934) “Dances from Galánta” is now available in the New Conductor Score series. These completely redesigned scores stand out due to their carefully researched critical report and a highly legible, clean notation, all in the trusted Universal Edition quality./ Répertoire / Orchestre

Par JOSEF STOIBER FRANZ. This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “solo”, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo” marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly. Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scalechoral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydn ”. The complete performance material for several “Sturm und Drang” symphonies and all of the London and Paris symphonies is now available from Bärenreiter. Based on the Henle Complete Edition of the “Works of Joseph Haydn ” Orchestral parts in a large format (25. 5 cm x 32. 5 cm) Full score & performance material available for sale (BA10980)/ Répertoire / Orchestre

Op 45 No. 2. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 45 in 1878, launching his so-called 'Slavonic period'. When they were issued by the publisher Simrock the following year, these three self-contained orchestral pieces in D major, G minor and A-flat major were gathered together into a single opus. The 'Slavonic Rhapsodies' are now available in separate scholarly-critical editions and editor Robert Simon has taken the original print as the principal source, which was authorised by the composer. To complement these editions, Barenreiter now publishes study scores to each 'Slavonic Rhapsody'. / Date parution : 2019-06-20/ Répertoire / Orchestre

Symphonic Etudes. Par SHCHEDRIN RODION. Many of Rodion Shchedrin’s compositions are distinguished by deeply Slavonic feeling and thrilling virtuoso displays. Even though Shchedrin has won recognition all over the world for his work, he remains an essentially Russian composer who has not broken off his ties to Russian musical folk traditions and poetry. It is thus not surprising to learn of his profound admiration for his compatriot Shostakovich (Shchedrin writes: “He is like a God to me.”) The “dialogues” in this one-movement orchestral piece give expression to this admiration; they describe and offer a musical commentary on the character of Shostakovich’s music and of the man himself. / Études et exercices / Répertoire / Orchestre

Par CHOSTAKOVITCH DIMITRI. Shostakovich’s fifteenth symphony differs substantially in many ways from his other late symphonies. The eleventh (1957), subtitled The Year 1905, and the twelfth (1960), subtitled The Year 1917, are both programmatic symphonies, relating to political and historical events within the year of which they are subtitled. The next two symphonies are sung texts, with vocal and/or choral parts: thirteenth (1962) and fourteenth (1969) symphonies. With the Symphony No. 15 In A Op. 141, Shostakovich’s last foray in the genre, the composer returned to a purely instrumental and non-programmatic composition, which inhabits a purely emotional andintellectual plane, quite removed from the world of politics and history. Available here is the pocket or study score of Shostakovich’s last symphony, the Symphony No. 15 in A Op. 141. This is an excellent Sikorski edition score, and is ideal for study and perusal purposes./ Répertoire / Orchestre

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

Conducteur Avec Couverture Rigide. Par SAINT-SAENS CAMILLE. With his four works 'Le Rouet d'Omphale”, 'Phaéton”, 'Danse macabre” and 'La Jeunesse d'Hercule”, composed between 1872 and 1877, Camille Saint-Saëns decidedly put himself in the tradition of Hector Berlioz, who heralded a new epoch with his 'Symphonie fantastique” premiered in France 1830, as well as the symphonic poems by Franz Liszt, who established the term for this genre in Germany. During Saint-Saëns' lifetime the four 'Poèmes symphoniques” had become part of the repertoire all around the globe. They were recorded numerously - but the piece to hold its ground in the concert halls until today is 'Danse macabre” alone. The critical first editions which are currently issued as part of the 'oeuvres complètes instrumentals” afford the opportunity for new interpretations based upon reliable sources. / Date parution : 2019-09-06/ Répertoire / Orchestre

Par REIMANN ARIBERT. Aribert Reimann?s ?Trilogie lyrique? is based on three plays by Maurice Maeterlinck: In L? Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. ?Who is sitting in our midst'? he asks. He is the only one who can see the presence of death. Intérieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirs to the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queen?s servants, who ful'l her demand and snatch the sleeping boy from his sisters? arms. / Date parution : 2022-07-20/ Répertoire / 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

'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violon I