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

Par YUASA JOJI. Détails de la formation instrumentale: 4 (alle auch Picc., 3. u. 4. auch Alt Flûte Traversière ) · 4 (auch Engl. Hr.) · 4 (3. auch Es-Klar., 4. auch Bassklar.) · 4 (3. u. 4. auch Kfg.) - 6 · 6 · 4 (3. u. 4. auch b. Trombone ) · 1 - Percussion (vibr · susp.cym · 6tomt · t.bells · xyl · 6cowbells · marimb · Glsp · claves · tamt · 4cast · w.bl · b.dr · 4Timbales · trgl) (5 players) - harp · piano (auch celesta) - Str. (12 · 12 · 12 · 10 · 8) - Durée: 19' -/ Répertoire / Orchestre

Liederzyklus Nach Brieftexten V. W.A. Mozart Für Bariton und Orchester. Par SCHMIDINGER HELMUT. Der Komponist und Musikus Mozart scheint mir als Bezugspunkt im 21. Jahrhundert und besonders im Mozartjahr 2006 doch sehr „ausgebeutet“. So habe ich mich nach der Lektüre sämtlicher seiner Briefe entschlossen, den unter Komponisten bisher weitgehend unbeachteten Briefeschreiber Mozart, der mehr als die viel zitierten „Bäsle-Briefe“ verfasst hat, als Textquelle für einen Liederzyklus zu verwenden. Die von mir im Dialog mit Wolfgang Holzmair getroffene Auswahl der Briefe ist nicht/ Répertoire / Orchestre

Par TURNAGE MARK-ANTHONY. Détails de la formation instrumentale: 3(2a Flûte Traversière, pic).3 (ca).3 (2bcl).2s Saxophone (2barsax).2.cbn-4.4.3 (euph).1-5 Percussion (timp.,sn.dr. (with brushes), large b.d., large pedal b.d., large sus.cym., large w.bl., tamb., large ratch., large gng, large c.b., mar., vib., hand bells, tub.bell, boobams, cong., large metal bar)-pno (cel).hp-Strings (16.16.12.12.8) - Durée: 22' -/ Répertoire / Orchestre

Partition d'étude de Night Mail Benjamin Britten arrangé pour haut-parleur et petit ensemble. Le verset par W.H. Auden. La première représentation de ce travail a eu lieu Novembre 1977, Londres. Durée 5 minutes. / Ensemble

Studienpartitur. Par MOZART WOLFGANG AMADEUS. Premièred at the Vienna Hoftheater on 1 May 1786, Wolfang Amadeus Mozart?s and Lorenzo Da Ponte?s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozart?s music: on the contrary, because of the extraordinary demands it placed on the orchestra (especially the woodwinds), the music even posed an obstacle to the work?s spread outside the German-speaking countries. At least equally responsible for the opera?s success was the librettist Lorenzo Da Ponte, who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing. Many of the sources for Mozart?s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ?New Mozart Edition? volume was published. These include the autograph scores of acts 3 and 4, now held at the Biblioteka Jagiello ka in Kraków, significant portions of the original sets of parts and acts 2 to 4 of the conductor?s copy from the first performance of 1786. These original sources, now available again, offer compelling solutions to several previously unresolved questions. Edition based on the Urtext of the ?New Mozart Edition? reflecting the latest musicological research With findings from original sources now available again Detailed foreword (Ger/Eng) Full score (BA4565-01), Vocal score (BA4565-92), study score format 22. 5 x 16. 5cm and Facsimile (BVK1882) available for sale V43 Performance material (BA4565-72) available to hire/ Répertoire / Partition de Poche

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./ Répertoire / Orchestre

EDITION URTEXT
Compositeur : Mozart, Wolfgang Amadeus
Instrumentation : Vc/KB
Nombre de pages : 2 / Partitions classique / Ensemble et orchestre / Orchestre / EDITION BREITKOPF

EDITION URTEXT
Compositeur : Mozart, Wolfgang Amadeus
Instrumentation : Vc/KB
Nombre de pages : 2 / Partitions classique / Ensemble et orchestre / Orchestre / EDITION BREITKOPF

Musikvermittlung hat sich zu einem festen Bestandteil unserer Musikkultur ­entwickelt. In den Aufsätzen dieses Buches werden Umrisse und Aufgaben der künstlerischen Disziplin beschrieben, Arbeitsfelder, Ausbildungsfragen und Adressaten thematisiert, Methoden und neue Medien gesichtet, kritische Aspekte und Qualitätskriterien erörtert sowie historische Prozesse und zukunftsweisende Perspektiven aufgezeigt - Bestandsaufnahme und Neu­reflexion einer offenen und offensiven Musikvermittlung, die dem Musik­leben neue Impulse verleiht. / Orchestre