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./ Répertoire / Orchestre

Suite for Group and Orchestra (1975). Par LORD JON. Full Score and Study Score of this work are available for sale. A set of individual parts are for rental only, not for sale. Prices and conditions are available on request. Please contact: Hal Leonard Europe Distribution BV - Rentaldepartment E-Mail: rental@halleonardeurope. nl Sarabande de Jon Lord fut composé en 1975 et sorti comme disque solo l’année d’après. Cette nouvelle édition révisée, basée sur la version deconcert du compositeur de 2010, est la toute première version publiée de l’oeuvre. Lord l’avait conçue pour accompagner son Concerto for Group and Orchestra lors d’interprétations en direct. Un morceau virtuose qui combine les forces de groupede rock et d’orchestre, inspiré par les suites pour clavier de Jean-Sébastien Bach. Cette nouvelle édition complète est éditée par le chef d’orchestre Paul Mann, collaborateur musical de Jon Lord depuis longtemps. Elle se repose sur de nombreusessources qui étaient indisponibles auparavant, comme le manuscrit de la version originale, ainsi qu’une copie de la partition corrigée en consultation avec le compositeur après la première de 2010. Par conséquent, cette édition est sans doute unereprésentation aussi précise que possible des dernières réflexions de Jon Lord sur cette oeuvre./ Répertoire / Orchestre

Vol. 10/II - Edizione critica a cura di Alessandro Borin-David Bryant (testi in italiano e inglese). Par GABRIELI ANDREA. Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer?s death in 1585. Broadly speaking, Gabrieli?s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer?s habitual interaction with patrons, poets and musicians in mid sixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli?s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ?stradioto? dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli?s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil?s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli?s presence in multi-author anthologies follows a predictable pattern. The young composer?s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark?s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer?s death). / Date parution : 2022-04-26/ Recueil / Orchestre

Haydn's Symphony #26 received its nickname 'Lamentazione? during his lifetime, though it is unclear whether this stems directly from the composer.This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn's day it was customary to play individual movements in church services, and it may be assumed that these two movements were performed, and possibly composed, independently from each other.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works, operas and symphonies, Haydn's Symphony #26 is appearing, based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete performance material for several of Haydn's 'Sturm und Drang? symphonies and all of the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the 'Works of Joseph Haydn?- Orchestral parts available in a large format (25.5 x 32.5 cm) / Orchestre