Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score

Suk, Josef Meditation on the Old Czech Hymn St Wenceslas for String Quartet op. 35a Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian 'St. Wenceslas' hymn. The hymn's message ' a plea for the well-being of the Czech people, directed at their patron saint ' was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass. ' First Urtext edition Edition no. TP 583 ISMN 9790260107809 Editor Nouza, Zdenek Language(s) of text Czech, English, German Product format Study score, Urtext edition Binding Stapled Pages / Format XI, 6 S. - 22,5 x 16,5 cm

Created in 1851, 'Ride of the Valkyries' is the prelude to the third act of the music drama 'The Valkyrie'. The purely instrumental version soon found its way onto the concert stages and turned out to be a first-rate attraction. Apart from 'Treulich geführt', 'Ride of the Valkyries' probably is Wagner's most popular melody.More intimate insights, however, are given by 'Siegfried-Idyll'. In 1870, Richard Wagner came up with a rather special birthday present for his wife Cosima. He surprised her with a secretly composed orchestral work the dedication of which alludes to impressions or circumstances at the birth of their common son Siegfried. / Orchestre

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

Pride, pomp, and circumstance of glorious war! It is these words from Shakespeare's Othello that these works by the English composer Sir Edward Elgar fall back on. The work was a sensational success from the very beginning, especially March #1. At its premiere in 1901 under the composer's direction, the audience requested two repeats - in 1902 the words of 'Land of Hope and Glory' were added to the march at the request of Edward VII for his coronation ceremonial. The resulting version is now performed every year at the Last Night of the Proms. Motivated by the success of the first two marches, Elgar composed another three which were performed in 1905, 1907 and 1930. #4 is as formal as #1 whereas the others are of a rather melancholy nature. / Orchestre

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

Op. 84. Par BEETHOVEN LUDWIG VAN. Beethoven?s incidental music op. 84 was written in 1809 for a performance of Goethe?s drama ?Egmont? at the Burgtheater in Vienna. Numerous composers of the day tried their hand at writing music for the dramatic material of Goethe?s tragedy, several in collaboration with the author himself. The overture reflects the themes of the play through its expressive music, and over the last two hundred years it has become one of the most popular works by Beethoven conceived for the stage. For this new edition, Beethoven specialist Jonathan Del Mar draws on various manuscript sources including a handwritten set of parts which has never been taken into account before. Thus, numerous discrepancies such as missing notes in the flute part or unclear bowing could be clarified for the first time. / Date parution : 2022-04-05/ Répertoire / Orchestre

For A Dead Princess in Full Score. Par RAVEL MAURICE. With the premiere in 1908 of Rapsodie Espagnole, Ravel's first entirely orchestral composition, the French composer achieved renown as a highly original and imaginative composer. In 1911, he recast the Mother Goose Suite, his extremely successful music for piano four-hands, as an orchestral work. Based on five fairy tales — among them 'Sleeping Beauty, ' 'Tom Thumb, ' and 'Beauty and the Beast' — this collection of children's pieces continues to enchant listeners of all ages with its variety of moods, from jubilation to haunting despair. In 1910, more than a decade after its initial appearance as a piano work, Ravel transcribed his evocative Pavane for a Dead Princess for orchestra. To this day, it continues to be one of his best-known, most frequently performed compositions. The rich orchestral settings of these three works have made them favorites among concert-goers around the world, ensuring the popularity of this full, authoritative, and inexpensive edition. Reprint of the Max Eschig, Paris, 1910 edition. With the premiere in 1908 of Rapsodie Espagnole, Ravel’s first entirely orchestral composition, the French composer achieved renown as a highly original and imaginative composer. In 1911 he recast the Mother Goose Suite, his extremely successful work for piano four-hands as an orchestral work. Based on five fairy tales, among them 'Sleeping Beauty', 'Tom Thumb' and 'Beauty and the Beast', this collection continues to enchant listeners of all ages with its variety of moods. After a decade after its initial appearance as a piano work, Ravel transcribed his evocative Pavane For A Dead Princess for orchestra, now one of his best-known and most frequentlyperformed compositions. These three rich orchestral settings are presented in full score in this authoritative edition./ Répertoire / Orchestre

One of the most famous ballet scores of the twentieth century. Completed in 1911, Petrouchka was the second of Stravinsky's great ballets and is equally at home in the concert hall as in the theatre. Now published in The Masterworks Library: Landmark 20th century works from the Boosey and Hawkes catalogue available for the first time in full score format at pocket score prices with introductory notes, illustrations and photographs. Ideal for students, conductors, performers, libraries, CD collectors and general music enthusiasts. / Partition /

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’./ Répertoire / Orchestre

Description With the premiere in 1908 of Rapsodie Espagnole , Ravel?s first entirely orchestral composition, the French composer achieved renown as a highly original and imaginative composer. In 1911 he recast the Mother Goose Suite , his extremely successful work for piano four-hands as an orchestral work. Based on five fairy tales, among them 'Sleeping Beauty', 'Tom Thumb' and 'Beauty and the Beast', this collection continues to enchant listeners of all ages with its variety of moods. After a decade after its initial appearance as a piano work, Ravel transcribed his evocative Pavane For A Dead Princess for orchestra, now one of his best-known and most frequently performed compositions. These three rich orchestral settings are presented in full score in this authoritative edition. Songlist Mother Goose Suite Pavane For A Dead Princess Rapsodie Espagnole

Serenade für 13 Instrumente. Par MOZART WOLFGANG AMADEUS. An announcement in the Wiener-Zeitung read: “Concert. Today [23 March 1784] Herr [Anton] Stadler Sr. , presently in the service of His Majesty the Emperor, will hold a concert for his own benefit at the Royal Imperial National Court Theatre in which, among other select pieces, he will present a grand work for wind-band of a quite special character, composed by Herr Mozart. ” That this was almost certainly four movements from the present Serenade in B-flat major, K. 361, is suggested by an account of the occasion published some months later, which states, “Today I heard a composition by Herr Mozart in 4 movements for wind ensemble. . . comprising 13 instruments: 4 horns, 2oboes, 2 bassoons, 2 clarinetts, 2 basset horns and a contrabass viol. . . . ” Much music of the serenade-divertimento-cassation-Nachtmusik type was written in a light style and intended for social occasions rather than formal concerts. In such a context K. 361 is striking for its seriousness of artistic content, its length (seven movements lasting nearly an hour), and its extended instrumentation (most wind-band music of the period calls for five to eight or nine players, not thirteen). If the work was not conceived in the first instance as a concert work, its potential as such must have been recognized early on by Mozart or Stadler. - Urtext of the New Mozart Edition - Parts (BA5331-22) and study score format 22. 5 x 16. 5cm (TP312) available for sale/ Répertoire / Partition de Poche

Rameau's 'Les Fêtes de l'Hymen et de l'Amour? was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as 'Zaïs?, 'Zoroastre? and 'Les Boréades?. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from 'Aruéris?, a scoring found nowhere else in his oeuvre.For the first time, this scholarly-critical edition of 'Les Fêtes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Académie Royale de Musique in 1748.- Milestone of French Baroque opera in performance practice orientated vocal score- With a brief foreword (Fr/Eng) containing salient information on the genesis of the work, the synopsis and the edition / Orchestre

The 'Linz Symphony 'is included among Mozart's best. The first movement is cheerful and buoyant in mood, yet retains an air of dignity and poise reflective of a true master of the genre. Richard Meyer's full orchestra arrangement of this classic is a terrific addition for any concert or contest. (5:20) / Orchestre

Beethoven, Ludwig vanLeonore Overture for Orchestra no. 3- The most popular of the ?Leonore? overtures- Based on the G. Henle Complete Edition of the ?Works of Ludwig van Beethoven?- Orchestral parts in an enlarged format (25.5 cm x 32.5 cm)Of the four overtures that Beethoven composed for his only opera, the ?Leonore Overture? No. 3 is the most popular. The first reviewer found fault with it for its ?incessant dissonances and overblown fluttering of the violins? (Wiener Theater-Zeitung, 1806), but it soon became famous as ?one of the most imposing, difficult, yet richest and strangest of compositions? (Allgemeine Musikalische Zeitung, 1810). This version of the ?Leonore Overture? quickly established itself independently of the stage in the concert hall and has found a lasting place in the symphonic repertoire.The editor has devoted herself to the complex genesis of the various ?Leonore Overture? versions, in particular the question whether the trumpet call in measures 272?277 and 294?299 should be played by one or two instruments. The edition is based on the Complete Edition of the ?Works of Ludwig van Beethoven? issued by the G. Henle publishing company. / Grand format / Barenreiter