These ten Rachmaninoff songs, transcribed in 1963 for voice and orchestra by Vladimir Jurowski (senior), were revived in Sweden in 2011 conducted by his son Michail, and songs from the collection have since been programmed by Andris Nelsons with the Tonhalle Orchestra and Michail Jurowski with Dresdner Philharmonie. The complete collection is to be performed in April 2015 by the London Philharmonic Orchestra, conducted by the arranger's grandson Vladimir Jurowski. / Voix Et Orchestre

Couverture Rigide Reliée En Lin. Par BEETHOVEN LUDWIG VAN. Beethoven and Bärenreiter - a marriage made in heaven! It all started in 1996 with Symphony No. 9: Jonathan Del Mar's groundbreaking edition of this masterpiece marked the beginning of his new edition of the complete nine symphonies. They became a huge success and have been used by countless orchestras all over the world. In the run-up to the Beethoven Year 2020, Del Mar has returned to the sources 20 years later and scrutinised them afresh. The results: the musical text has withstood the test of time. Our new edition now has an optimised layout and an additional Introduction by Barry Cooper. Rounding off this beautiful linen-bound volume are several pages reproduced in facsimile./ Répertoire / Voix et Orchestre

Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). Par ANTONIO VIVALDI. 'With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed. '/ Répertoire / Chant et Orchestre

Conducteur avec couverture rigide. Par GADE NIELS WILHELM. Gade dated the cantata „Zion“ op. 49 (named “concert piece” in the first edition) on 16 September 1874; the premiere took place on 30 August 1876 during a festival in Birmingham. In Gade’s understanding “Zion” forms “a kind of trilogy” together with the cantatas „Kalanus“ and “The Crusader“ which centres around the “longing for the true light“. The focus of „Zion“ is the history of the Jewish people where a people has received a promise. This is described in Gade’s words in the following sections: a) Introduction – The Departure from Egypt b) The Captivity in Babylon c) The Return – Prophecy of the New Jerusalem”./ Répertoire / Chant et Orchestre

Par TELEMANN GEORG PHILIPP. This volume represents the only annual cycle of sacred music of the 18th century printed in score: it was completed in 1744. The textual basis stems from Erdmann Neumeister. In contrast to the usual practice of the Telemann Edition to edit segments of the church years, here the entire course of the church year is presented. The music to be performed at the beginning of each part of the church year and at special celebrations is included. Telemann used a variety of expressive polyphonic techniques to create the introductory dicta. These, like the chorales, are written in concentrated three-part harmony. The preface provides information on the printing history of the church year and its dissemination supplemented by comments on performance practice: the critical report analyses the rich source material. Editions of Telemann's preface (with his performance notes and an explanation of his figured bass system), the preface on the printing of the texts and the texts of the compositions contained in the volume flank the edition of the music. Facsimiles from the original print and from Hamburg performance materials are included./ Répertoire / Chant et Orchestre