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. / Piano Et Orchestre

Par SCHUMANN ROBERT. 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 andOrchestra. 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) Concertstuck, 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 / Date parution : 2019-12-12/ Répertoire / Piano et Orchestre

Par DAVIES TANSY. Nature, Tansy Davies gloriously offbeat concerto for piano and ten instruments from 2012, teems with invention. This 20-minute work was inspired by shamanic rituals and the supernatural, and Davies describes the piano as part moth, part Maenad . There is a feral quality to much of the tumultuous solo writing all hyperactive trills and gutsy bass eruptions, shot through with rare and unexpected moments of calm. Brilliantly imaginative, and packed full of glistening, ever-changing ensemble textures, this remarkable reimagining of the concerto form sees Davies craft yet another thrilling and wholly distinctive soundworld. ARRANGEMENT Piano and ensemble of ten players: Alto Flute, Cor Anglais, Bass Clarinet, Horn, Percussion (1 player), Harp, Violin, Viola, Cello, Double Bass. / Scores / Répertoire / Piano et Ensemble De Chambre

Par BEETHOVEN LUDWIG VAN. The Bärenreiter Urtext edition of Ludwig Van Beethoven 's Concerto No. 1 In C Major Op. 15 For Piano features a detailed commentary by Bärenreiter editor and Beethoven expert Jonathan Del Mar. In Beethoven ’s autograph for Concerto No. 1 In C Major Op. 15 For Piano Del Mar found no less than 17 corrections which were made after the work was published. These have been brought to light in this volume and all the sources and findings made by the editor have been documented. This critical edition reflects the latest musicological research and sets the highest scholarly standards without losing sight of theneeds of modern performers. This is a full score./ Répertoire / Piano et Orchestre

Par MANTOVANI BRUNO. Cette pièce emprunte sa matière soliste à une oeuvre pour piano, Le Livre de Jeb, véritable portrait musical de son dédicataire Jean-Efflam Bavouzet. Ce pianiste protéiforme, aussi sensible à la musique de Claude Debussy qu'au jazz, est un artiste unique, par l'ampleur de son répertoire et par la générosité de ses interprétations. C'est justement la diversité des goûts de ce musicien qui est à l'origine de mon inspiration : ma pièce renvoie autant à une contemplation caractéristique d'un certain 'esprit français' (notamment en son début) qu'à des rythmiques plus américanisantes. L'orchestre fonctionne ici comme le prolongement des résonances naturelles du piano. Il interprète les silences de la pièce originelle, vient ajouter des commentaires, afin de complexifier une matière première qui vise à l'évidence. La forme est extrêmement libre, mais le retour de certaines idées vient structurer un parcours dense, où la logique traditionnelle du concerto (alternance entre soliste et orchestre) est remplacée par un jeu permanent de doublures. Commande de l'Orchestre National de Lille, cette Fantaisie composée en 2009 est dédiée à Julia, Laura, Andrea, et Jean-Efflam Bavouzet. Bruno Mantovani / contemporain / Date parution : 2010-01-04/ Répertoire / Piano et Orchestre

Le titre de 'Deus ex Machina' fait référence à l'expression latine 'dieu de la machine.' Chacun des trois mouvements du concerto pour piano est une réponse musicale au monde des trains.'Deus ex Machina' pour piano et orchestre a reçu trois Grammy-prix en 2011, y compris 'Meilleure composition classique contemporaine'. / Piano Et Orchestre

Par TIPPETT MICHAEL SIR. Tippett and rsquo -s Concerto pour Piano - écrit entre 1953 et 1955 - peut être considéré comme un commentaire du milieu du XXe siècle sur et une réaction contre les types ancien concerto héroïque et percussion. Son inspiration initiale est venue lorsque Tippett entendu Gieseking répéter le premier mouvement de Beethoven and rsquo -s quatrième Concerto de Piano pour un concert en 1950. Tippett écrivit plus tard de la genèse de son propre concerto: and lsquo-sous l'influence d'une performance exceptionnellement poétique pourtant classique du mouvement de Beethoven, je me retrouvais persuadé qu'un concerto contemporain pourrait être écrit, dans lequel le piano est utilisé une fois de plus pour ses capacités poétiques. and rsquo - hormis les influences de jeu self-acknowledged, la principale influence sur le langage musical du concerto, comme le reconnaît Tippett lui-même, a son propre opéra The Midsummer Marriage, où il venait de terminer. Comme le compositeur lui-même des commentaires sur son concerto, and lsquo-la musique est riche, linéaire et lyrique, comme dans cet opéra. and rsquo -/ Répertoire / Piano et Orchestre

Having published the scores, Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven's piano concertos, the study scores can now also be purchased individually. The musical text reflects a meticulous examination of every surviving source, resulting in Urtext editions at the highest possible level. The study scores are supplemented by Introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as Forewords by the renowned editor Jonathan Del Mar, with descriptions of the sources and the editorial method. ' Urtext editions at the cutting edge of scholarship ' Reference editions for pianists, students, conductors and libraries ' Each score contains an Introduction by Barry Cooper (Ger/Eng) Edition no.: TP 921 ISMN: 9790006205486 Editor: Del Mar, Jonathan Language(s) of text: English, German Product format: Study score, Urtext edition Binding: Paperback Pages / Format: XIII, 99 S. - 22,5 x 16,5 cm