Par DVORAK ANTONIN. This study score is based on the score and complete performance material of DvorĂĄk's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by DvorĂĄk scholar Jan Smaczny. Like every other major 19th-century cello concerto, DvorĂĄk's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in DvorĂĄk's autograph were written by the cellist Hanus Wihan but BĂ€renreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, DvorĂĄk's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes DvorĂĄk's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between DvorĂĄk and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger)/ RĂ©pertoire / Violoncelle et Orchestre

Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guide that considers the development of the symphony from a number of different perspectives: analytical, historical, and critical. Exploring important milestones, touchpoints, events, key works, and the composers that surround the genre, it also includes a composer timeline, detailed case studies and comprehensive music examples. This handy and informative book is ideal for GCSE, A-Level, and undergraduate music students, as well as anyone wanting to study and learn more about the genre. Christopher Tarrant is Lecturer in Music Analysis at Newcastle University. He received his PhD from Royal Holloway, University of London and now teaches and writes about concert music of the long nineteenth century with a special emphasis on theory of form and the Nordic symphony. Christopher is also a violinist and conductor. Natalie Wild is Director of Research and Deputy Director of Music at the Music in Secondary Schools Trust (MiSST). Her research focuses on the role a classical music education can play in breaking down social barriers. Natalie has taught both GCSE and A-Level Music for many years as Head of Music in various inner-city schools. / Date parution : 2022-05-17/ Livre / Orchestre

Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthĂ©tique qui domine dans mes oeuvres prĂ©cĂ©dentes, une esthĂ©tique de la continuitĂ© oĂč la forme est structurĂ©e par des processus se dĂ©roulant en un flot presque ininterrompu. Ici, la forme musicale cherche Ă  crĂ©er une architecture du temps plus complexe, qui joue de flash-backs, prĂ©monitions, boucles..., comme si l'on se trouvait dans une sorte de machine Ă  remonter le temps. Pour nĂ©anmoins prĂ©server une sorte de continuitĂ© sous-jacente, j'ai d'abord imaginĂ© une structure 'linĂ©aire' pour la piĂšce, comportant des Ă©volutions progressives et logiques, et j'ai parfois rĂ©alisĂ© des fragments de cette piĂšce virtuelle, puis, un peu comme un cinĂ©aste, j'ai 'montĂ©' la structure de la piĂšce, en coupant, dupliquant, insĂ©rant, collant. A peu prĂšs aux deux tiers de la piĂšce, le temps s'inverse et s'Ă©coule deux fois plus vite - on repasse, plus symboliquement que textuellement, par toutes les Ă©tapes des deux premiers tiers, avec parfois des superpositions, des inserts ou des raccourcis. L'orchestration n'est pas tout Ă  fait conventionnelle - les vents et la percussion sont en nombre habituel, mais les cordes sont rĂ©duites Ă  environ la moitiĂ© de l'effectif normal. J'ai cherchĂ© ainsi une qualitĂ© particuliĂšre du son des cordes moins volumineux, mais plus intense. Les cordes jouent le plus souvent des parties individuelles. Leur emploi principal consiste Ă  colorer ou distordre les sons jouĂ©s par les autres instruments, ou Ă  construire des spectres sonores complexes. L'orchestre est enrichi par un synthĂ©tiseur (un Yamaha DX7) qui a deux principales fonctions. GrĂące Ă  son aptitude Ă  synthĂ©tiser des sons par modulation de frĂ©quence, il peut Ă©mettre directement des spectres riches identiques Ă  ceux que j'utilise dans mon Ă©criture orchestrale. La composition de cette piĂšce a donc impliquĂ© d'abord la programmation des sons sur le synthĂ©tiseur (un seul son peut produire une texture trĂšs riche et n'est souvent utilisĂ© qu'une seule fois). Dans d'autres cas, je l'utilise comme un complĂ©ment de la section des percussions et du piano, le synthĂ©tiseur ayant la tĂąche d'Ă©mettre les sons non tempĂ©rĂ©s. Time and Again est une commande du 'John Feeney Charitable Trust' pour le City of Birmigham Symphony Orchestra, et a Ă©tĂ© crĂ©Ă© Ă  Birmingham le 21 janvier 1986 par cet orchestre, sous la direction de Simon Rattle. La piĂšce Ă©tait destinĂ©e Ă  ĂȘtre jouĂ©e en premiĂšre partie de la Turangalila Symphonie d'Olivier Messiaen, pour une sĂ©rie de concerts en Angleterre. Cela explique qu'un auditeur attentif trouvera peut-ĂȘtre quelques allusions Ă  cette symphonie dans Time and Again... Tristan Murail Enregistrement: 1 CD Montaigne/NaĂŻve, MN782175 DĂ©sintĂ©grations - Gondwana - Time and again Ensemble L'ItinĂ©raire, Orchestre National de France, Yves Prin (direction) - Orchestre Beethoven Halle de Bonn, Karl Anton Rickenbacher (direction) / contemporain / Date parution : 1985-01-01/ RĂ©pertoire / Orchestre

Full Score. Par BERLIOZ HECTOR. Hector Berlioz (1803–1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries — Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven — Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called 'program music' — i. e. , instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these 'program' pieces: the Symphonie Fantastique (1830) and Harold in Italy (1834). Here are the full scores of both major symphonic works — painstakingly reproduced from the authoritative Breitkopf & HĂ€rtel edition, available for the first time in one convenient volume — plus Berlioz's 'program' for the Symphonie Fantastique. Musicians and music lovers everywhere will value this high-quality, inexpensive edition — ideal for study and performance. Reprint of Nos. 1 and 3 of Serie I, Symphonien (1900), of Werke von Hector Berlioz, Breitkopf and HĂ€rtel, Leipzig, 1900–1910. Breitkopf & Hartel edition./ RĂ©pertoire / Orchestre

Solo for Oboe or Violin. Par BACRI NICOLAS. The title only appears frivolous to those who have lived little. With the passage of time, the seasons that pass, the differences in quantity and quality of light, of temperature and weather, become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes, incredulous and wondrous, events that we can only experience once in a lifetime: our birth, our blossoming, our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless, everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman, initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto, this time with Lisa Batiashvili, that the idea came to me for a cycle of four concertos with, each time, a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico, l’automne’, whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind, hence the ‘Concerto amoroso, le printemps’, was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years, it was quite naturally that I thought of completing this cycle for François Leleux, with winter ‘Concerto tenebroso’, created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude, with a work that reunited all four protagonsits. It was summer, the ‘Concerto luminoso’, which took on this role’./ RĂ©pertoire / Orchestre

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ RĂ©pertoire / Orchestre

Clara Wieck?s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ?it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano?? In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara?s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann?s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann?s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann?s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) ConcertstĂŒck, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Pantomime in einem Akt nach dem Libretto von Menyhért Lengyel. Par BARTOK BELA. In the Mandarin he finally breaks with the romantic tradition and also turns away from the artistic endeavours typical of the turn of the century. The pantomime refl ects for the fi rst time what Bartók had learnt from folk music, refined into a personal expression, an individual phraseology. He consciously settles a score with the ideology and the style of his youth.' György Kroó/ Répertoire / 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

Deux des plus belles oeuvres de Haydn, nominalement associĂ©es Ă  la guerre, mais richement dĂ©votion dans l'esprit, et exemplaires dans leur synthĂšse de la musique vocale et instrumentale. Les deux masses ont Ă©tĂ© Ă©crites dans la fin des annĂ©es 1790 oĂč l'Europe Ă©tait en guerre et le premier effectuĂ© Ă  Eisenstadt, la maison de campagne autrichienne de clients tout au long de compositeur.Reproduit Ă  partir autoritĂ© Ă©ditions allemandes. / Orchestre

In 2012, the American composer Elliott Carter died at the ripe old age of almost 104. To the last, he devoted his time to composing. Instances is the last orchestral work written by the two-time winner of the Pulitzer Prize. / Orchestre

Music Of Our Time. Par SCHNEBEL DIETER. In this work Schnebel attempts to apply the idea of the Baroque canon - as exemplified in Bach’s ‘Art of Fugue’ - to modern concepts of tonal colouring. The ‘Motu proprio’ of the 7 mixed groups of orchestral instruments intensifies within 28 short emotional sections to the Baroque ‘Motu contrario’. In ‘Diapason’, literally translated ‘in the octave’ but in the ancient Greek music tradition taken to mean ‘through or across everything’ among other things, the orchestra is arranged into 13 groups according to families of instruments and tonal colour. Schnebel alternately uses the term ‘fugue’ in the strict sense of the Baroque period and in its more general, purely architectonic meaning./ RĂ©pertoire / Orchestre

Par HOLST GUSTAV. Invocation was composed in 1911 and first performed on May 2nd of that year in the Queen's Hall, London, by May Mukle with the New Symphony Orchestra conducted by Landon Ronald. The work received several performances with Piano accompaniment before 1914, but with the public success of The Planets, it became one of many works that Holst never had time to revise or publish. A certain amount of editing of dynamics and phrasing has been necessary, and the Piano reduction has occasionally been slightly adjusted to match the orchestral accompaniment more closely. The separate Cello part has been edited by Julian Lloyd Webber./ RĂ©pertoire / Conducteur