Schumann, Saint-Saens, Dvorak . Par SCHUMANN / SAINT-SAENS / DVORAK. Complete scores of three great romantic cello concertos brought together in one convenient source. Spanning the last half of the nineteenth century, the compositions reveal extraordinary lyricism, imagination and individual interpretation of the concerto form. Complete and unabridged edition. Complete scores of three great romantic cello concertos brought together in one convenient source. Spanning the last half of the nineteenth century, the compositions reveal extraordinary lyricism, imagination and individual interpretation of the concerto form. Complete and unabridged edition./ Répertoire / Orchestre

Charles Gounod's interpretation is the best-known and most frequently performed of any stage or Orchestral treatment of the Faust legend. Faust was a major success upon its first fully realised performance at Milan's La Scala in 1862. The Opera's lyricism, tremendous variety of mood and Orchestral colour, and subtle delineation of character continue to delight generation upon generation of audiences. Now Opera lovers can study and enjoy the complete masterpiece in this attractive volume, which has been reprinted from an authoritative edition. Despite the frequency of its performances, Gounod's work is hard to find in print, so this rare edition of the full score constitutes a treasure for conductors, performers, and music majors alike.

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

Beethoven?s sacred works include two settings of the Mass. The ?Mass in C major?, completed and premiered in 1807, has been unjustly described as a preliminary step towards the great ?Missa solemnis?. Yet it is a self-contained and, for its time, decidedly modern piece of church music. Drawing on the rich body of sources, Beethoven specialist Barry Cooper suggests practical solutions to the work?s musical and interpretative problems. His deep study of the sources convinced him to include a fully realized organ part in the score, just as Beethoven envisioned it for the first printed edition. As stated in the sources, the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. Rounding off this Urtext edition are a Foreword on the work?s genesis and a detailed Critical Commentary. ? Score with realization of the organ part ? Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) ? Idiomatic piano reduction