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

Par DVORAK ANTONIN. This study score is based on the score and complete performance material of Dvorák'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 Dvorák scholar Jan Smaczny. Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus Wihan but Bärenreiter'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, Dvorák'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 Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger)/ Répertoire / Violoncelle et Orchestre

for Orchestra Full Score. Par PENG-PENG GONG. “In celebration of the 40th anniversary of China-U.S. diplomatic relations and in hope to support the promotion of Chinese culture abroad, Peng-Peng Gong's (b. 1992) Tenth Symphony, subtitled 'Peking Fantasy' (Op. 55) was co-commissioned by the Philadelphia Orchestra and the Shanghai Philharmonic Orchestra in 2017. The world premiere of the 2018 original version was presented by the SPO in April of the same year in Shanghai, while the world premiere of the 2019 revised version was presented by the Philadelphia Orchestra in January at its home venue with the combined forces of both orchestras side-by-side. Inspired by the artistic power of Peking Opera ?the crowning heritage of Chinese traditional performing arts, the symphony strives to translate the emotional and philosophical experience of the art form for international audiences and to explore the Western orchestra's expressive abilities in capturing the Eastern spirit. The 2018 original version ran as long as 76 minutes, before the composer extensively revised the score down to 40 and presented it in a single movement without pause. The work is scored for a huge orchestra of over 100 players. Main materials that inspired the music are from the traditional Peking Opera repertory: The Drunken Beauty, Farewell My Concubine, In Pursuit of the General, and The Chancellor and the Advisor (lit. Cao Cao and Yang Xiu). 'Peking Fantasy' is in a sweet, direct musical language ...It's a work of highly original sounds presented in a series of vivid episodes.” -Peter Dobrin, The Philadelphia Inquirer Please note: this item will be printed at the time of ordering and will ship as soon as possible, usually within 2-3 weeks. / Date parution : 2022-01-18/ Répertoire / Orchestre

Eine kleine Nachtmusik' '... written with ease, but skillfully refined' 'Eine kleine NachtMusick' is how Mozart entered the Serenade in G major in his personal catalogue of works on 10 August 1787. It was written without any known incentive or commission during the time that Mozart was composing 'Don Giovanni', a time when he was celebrating his greatest success as an opera composer. The work is one of the jewels of Mozart's output, combining bright radiance and a natural simplicity with brilliant refinement. Similarly, the autograph manuscript of this perfect masterpiece is captivating because of its balanced clarity and beautiful handwriting. The manuscript was inaccessible to the public for almost half a century, but now Bärenreiter has received exclusive permission to produce a new facsimile of Mozart's original. The edition reproduces the facsimile pages as individual sheets and leaves, reflecting the way the original copy has survived. These pages ' in high-quality colour printing, each trimmed individually ' are presented in a handsome box. This is accompanied by a booklet with an introductory text by Wolfgang Rehm including information on the genesis of the composition and the various aspects of the autograph manuscript. 'The fact that it's all over town does not alter anything in the quality of this occasional piece written with ease but skillfully refined.' (Wolfgang Hildesheimer) BÄRENREITER FACSIMILE The seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms. The distinguishing features include: - a facsimile in high-quality colour printing - scholarly commentary 'Facsimile of the autograph score KV 525 'Introduction: 'I. 1787: The work. Its background, genesis, significance and impact 'II. The Autograph. Its clear, its twisted paths 'Notes and References 'Einführung: 'I. 1787: Das Werk. Sein Umfeld, seine Entstehung, Bedeutung und Wirkung 'II. Das Autograph. Seine eindeutigen, seine verschlungenen Pfade 'Anmerkungen 'Watermark No. 55 'Facsimile of the autograph fragment KV 525a Edition no.: BVK 2282 ISBN: 9783761822821 Volume / Series: Documenta musicologica II/46 / Bärenreiter Facsimile Editor: Rehm, Wolfgang Language(s) of work: German, English Product format: Facsimile Binding: in a case Pages / Format: 38 S. - 25,4 x 34,0 cm

Eine Tondichtung In Symphonieform In Zwei Teilen und Fünf Sätzen. Par MAHLER GUSTAV. “Titan”, the early five-movement version of the “Symphony No. 1”, has never been published before. Universal Edition is proud to make this score available for the first time in connection with the Complete New Critical Edition. Mahler composed the work at the beginning of 1888 in Leipzig. In 1889 it was subsequently premiered as a “symphonic poem” in Budapest. Our first edition of “Titan” contains the history of its genesis, reviews of the performances in Hamburg and Weimar, a discussion of the programmes and the underlying ideas behind the work, colour prints of important sources, and an extensive critical commentary that describes the variants, problematic passages and all editorial interpolations. At this point, we would like to refer to a statement by the International Gustav Mahler Society (IGMG), which is very concerned about Mahler editions that are not up to date with musicological research and thus cannot do justice to the composer's intentions. To the statement (click in the top right corner to read in English)/ 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

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

Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn’s setting of Psalm 98 was written in a few weeks to satisfy a commission in his new position as general music director of Prussia and was premiered by the Berlin Cathedral Choir on 1 January 1844. As he neither released the work forpublication nor produced a vocal score, his psalm setting did not appear in print until after his death. For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions, which tend to treat theautograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The piano reduction is based on the first printed edition, published by F. Kistner and Evers & Co. in 1851. - Urtext edition of Mendelssohn’s last orchestral psalm - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Words underlaid in both German and English - Piano reduction based on the first printed edition Features of the Barenreiter Urtext edition of Mendelssohn ’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) : Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) Words underlaid in both German and English Piano reduction based on the first printed edition Full score, performance material (BA9076) and vocal score (BA9076-90) available for sale Mendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear in print until after his death. For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition, which was published by F. Kistner and Evers & Co. in 1851./ Répertoire / Solistes, Choeur Mixte et Orchestre

Par HAYDN JOSEPH. According to his dating of the autograph, Haydn composed the Symphony no. 89 in F major in 1787, just one year after the six so-called Paris symphonies. It was written, together with its sister work, the G-major Symphony no. 88, for the violinist Johann Tost, who sold it to the Parisian publisher Sieber. In both works, Haydn continues the compositional achievements of the Paris symphonies: mastery of orchestration, richness of musical ideas and details, and an idiosyncratic, multicoloured use of the wind section (which still makes do without Clarinets). In contrast to the buoyant G-major symphony, the F-major symphony possesses a ratherpastoral, sweet character, which in parts can nevertheless soar to dramatic heights. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future. / Friesenhagen, Andreas / Répertoire / Orchestre

Par MESSIAEN OLIVIER. Drawing its material from the tui bird from New Zealand, Un oiseau des arbres de Vie (Oiseau Tui) was originally envisaged as the third movement of Éclairs sur l'Au-Delà..., Messiaen's last completed work. Despite having written all of the music in short score, the composer reluctantly decided to omit this remarkable movement from Éclairs at a relatively late stage. This realisation of Un oiseau des arbres de Vie (Oiseau Tui) is based on Messiaen's annotations in the short score, supplemented by precedents from the music of Éclairs and the composer's other final works. / Date parution : 2023-06-01/ Répertoire / Orchestre

Par BRITTEN BENJAMIN. The Full Score for Benjamin Britten's Young Apollo Op.16 . For Piano and string Orchestra this is a radiant, expressive, characterful and dramatic work that signified Britten's return to tonality and a fresh approach to his composition. / Niveau : Intermédiaire à Avancé / Répertoire / Conducteur

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / 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

In G Major. Par DVORAK ANTONIN. The performance material available up till now for Dvorák' s sun-filled cheerful Symphony no. 8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. He has taken into account the engraver' s copy, which was actually discovered in a trash bin at Novello' s in 1964. Its title page bears the words ' Copied from my original manuscript” in Dvorák' s hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist' s pen. This new edition with score and orchestral parts in an enlarged format is accompanied by a detailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings. - Score and orchestral parts in an enlarged format - Informative Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readings - With facsimile pages/ Répertoire / Orchestre

Ouvertüre. Autograph: Biblioteka Jagiellonska Kraków. Par MENDELSSOHN-BARTHOLDY FELIX. An enchanted night, virtually fragrant dreams, floating fairies & the sensory associations evoked and fashioned by the music of Mendelssohn's overture ; A Midsummer Night's Dream are almost inexhaustible. Written by the composer in 1826 in a carefree summer spent between the summerhouse and his siblings, this is without doubt Mendelssohn's most popular concert overture. The renowned musicologist Friedhelm Krummacher shows in the introduction how finely Mendelssohn interwove motifs and themes. He also looks into the origins of the work, especially a conjectural firstsketch, which is reproduced in facsimile in the appendix. To mark the 200th anniversary of Mendelssohn's birth, Bärenreiter in cooperation with the Biblioteka Jagiellonska Krakó w published a high-quality facsimile designed for the bibliophile, vividly bringing the composer's delicate handwriting to life./ Répertoire / Orchestre