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 BACH JOHANN SEBASTIAN. The now-published volumes 9 and 10 have presented a special challenge, for particularly in the field of the chorale arrangements the transmissions are more complex than in any other group of works. This ties in with the crucial question of Bach?s authorship, which has been the subject of much controversy in the past. There were heated discussions about it even just prior to our edition, and editors and publisher are aware that the present selection is a thoroughly debatable snapshot. More on this in the volumes? text sections. The situation of the chorale partitas is not quite so dramatic, whereby these holdings also had to be subdivided for reasons of transmission into mainsection, appendix, and online presentation. The so called ?Neumeister-Choräle? are incorporated in the group of the separately transmitted chorale settings in alphabetical order, because the compilation of the pieces does not follow any collection idea of Bach (such as, for example, his larger late collections). The indication ?Neumeister-Sammlung? should facilitate the attribution. Those works requiring further research, besides of some versions, are presented online, since their profile reveals less evidence of the true author. / Date parution : 2021-11-25/ Recueil / Orgue

Intermediate-level arrangements of well-known Classical and Romantic works. Par AUTEURS DIVERS / BROOKER DAVID (Arr.). In his preface to 'Piano Trios on Stage”, the arranger, David Brooker, reminds us that, just as the string quartet, the piano trio has always been one of the pillars of chamber music. In the 19th and early 20th century, it was almost like the later invention of the gramophone record, allowing larger works, in arrangement, as well as lighter pieces to be presented to small audiences, often as background music. David comments that string players have plenty of easy material to introduce them to the pleasure of making music with other instrumentalists but when it comes to piano parts these are usually written or arranged with a teacher or more advanced student in mind. David sets out to rectify that imbalance and his arrangements aim to put all three players on an equal footing. Of easy to intermediate standard, they are ideal for violinists, cellists and pianists who are now ready to try their hand at proper chamber music. The music is fun and instantly recognizable, drawing on Grieg's 'Peer Gynt”, Tchaikovsky's 'Nutcracker” and Leopold Mozart's 'Musical Sleigh Ride”./ Recueil / Violon Ou Flûte, Violoncelle Et Piano

Version 1. Par FELDMANN WALTER. «sexe-tuor» was originally a failed attempt to compose a solo oboe piece for my noyé cycle. For the solo the name 'le sexe du noyé' was intended, and the few measures of sexe-tuor were my first attempt to compose a piece in which more complex rhythms would result in a kind of proportional multiplication of individual fragments from the sextet [hence the French sextuor] le retour du noyé. This proved to be monstrously complicated and absurd. Thus, the ten measures of the «sexe-tuor» fragment represent a capitulation in the face of these complications, presented as the interruption of an immovable column of air in a frozen multiphonic sound. In the event, the solution to the problemwas quite simple: Beginning with the composition of le sexe du noyé the proportionalities of the pitch levels and rhythmic values revealed significant rhythmic possibilities. sexe-tuor remains as it is: a solo piece that can function in another compositional context, as an intermezzo between other, larger works on a concert program. The 90 second piece of music can be played in two versions: either for solo piccolo or solo oboe./ Répertoire / Hautbois

Version 2 Avec Cd. Par FELDMANN WALTER. «sexe-tuor» was originally a failed attempt to compose a solo oboe piece for my noyé cycle. For the solo the name 'le sexe du noyé' was intended, and the few measures of sexe-tuor were my first attempt to compose a piece in which more complex rhythms would result in a kind of proportional multiplication of individual fragments from the sextet [hence the French sextuor] le retour du noyé. This proved to be monstrously complicated and absurd. Thus, the ten measures of the «sexe-tuor» fragment represent a capitulation in the face of these complications, presented as the interruption of an immovable column of air in a frozen multiphonic sound. In the event, the solution to the problemwas quite simple: Beginning with the composition of le sexe du noyé the proportionalities of the pitch levels and rhythmic values revealed significant rhythmic possibilities. sexe-tuor remains as it is: a solo piece that can function in another compositional context, as an intermezzo between other, larger works on a concert program. The 90 second piece of music can be played in two versions: either for solo piccolo or solo oboe./ Répertoire / Piccolo

Finnish composer Kaija Saariaho 's Bosun's Cheer , composed in 2014. Included here are the score and parts for the Modern Instrument Version , arranged for a speaker, Flute, Cello and Double Bass. Born in Helsinki and having studied composition there and in Freiburg and Paris, Kaija Saariaho and nbsp - has achieved a great level of critical and audience acclaim now mid-career. Her previous work was notable for including electronics alongside more traditional instruments before going on to compose much larger works, including the epic opera 'L'Amour de Loin' in 2000, a recording of which won the 2011 Grammy award for best opera recording. and nbsp - This piece, Bosun's Cheer, is an exhilarating work, including some inventive instrumental techniques as well as a hauntingly poetic voice.The version for period instruments can be found and nbsp - here . / Voix, Flûte, Violoncelle Et Contrebasse

Par ZELENSKI WLADYSLAW. Wladyslaw Zelenski had the Six Character Pieces for piano, op. 17 ready around 1871, although it is quite possible that he composed them earlier, even in 1864. Such is indicated by the opus number. At that time he was giving opus numbers to works in chronological order of composition. This set is dedicated to Auguste Auspitz-Kolár, a pianist whom Zelenski could have met on one of his trips to Vienna. The composer published these works in 1872, with Gotthard of Vienna, in two books under the common title Sechs Charakterstücke. The present edition is based on Ludwig Doblinger?s Viennese edition (cat. no. 1221 comprises the Praeludium, Promenade and Tanz, cat. no. 1222 the Canon, Scherzo and Abschied). The compositions collected in Zelenski?s opus 17 have been unjustly forgotten. Their undeniable qualities include advanced harmonies and expressive melodic writing, as well as a wide range of textural means and composition techniques. Quite ?densely? written, these miniatures may prove challenging, but the right fingering eliminates many difficulties of performance. The second book of Wladyslaw Zelenski?s Six Character Pieces contains three miniatures: Canon, Scherzo and Farewell. They manifest characteristic features of the composer?s style, such as the use of counterpoint and a rich, organ-like texture. The Canon, with its emotional charge and build-up of tension, brings to mind miniatures from the brilliant piano cycles of Robert Schumann. A very simple phrase is imitated canonically between the top voice and the two bottom voices, passing through different keys. A touch of finesse is added by the triplet figuration in the middle plan. The next miniature is a classic Scherzo in ABA form. The outer sections, with an imitated theme, are in G minor. With its rather ominous, perhaps somewhat tragic, character, it contrasts with the middle section, Un poco più tranquillo, in the parallel key of G major, which clearly represents a more luminous, dance-like episode in this set of works. The title Farewell given to the last piece in opus 17 may stir associations with Ludwig van Beethoven?s only programme sonata, Les Adieux. This miniature is far more expansive and texturally richer than the other works in this set. The virtuosic elements are of the highest order, not overwhelming the composition, but emphasising its powerful emotional charge. Each of these miniatures can function as a separate work, but when played as two three-part cycles they fall into logical wholes, in which the climax is reached in the last, most elaborate piece. Yet a performance of all six works from both books, so the whole of Zelenski?s opus 17, allows us to discern an even larger cyclical form, developed in an equally deliberate way. - Anna Miernik/ Répertoire / Piano

An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Ubi caritas et amor is a simple, reflective anthem for mixed-voice choir and organ. Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music, where he won the Foli Scholarship for composition. He wrote his first opera, Rapunzel , when only 17, and went on to composer many other dramatic and orchestral works, including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works, composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music, including Black Narcissus and The Red Shoes, for which he won an Academy Award for best original music score in 1948. 'Ubi Caritas is the work of a craftsman steeped, naturally, in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi, it is within the capability of a good church choir.' - Howard Layfield, Mastersinger / Choeur SATB Et Orgue

Easter Cantata. Par PACHELBEL JOHANN. Christ lag in Todesbanden (Christ lay in grim death's prison) Easter Cantata In recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories, e. g. motets, cantatas, magnificats, and masses. The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal, choral, and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik', that is to say, they are functional music written for specific use in the church, service. They are not music written for its own sake. Full score, performance material (BA2875), choral score (BA2875-91) available for sale/ Répertoire / SATB, 4 Parties Mixtes, 2 Violons, 3 VioleSBasson

Easter Cantata. Par PACHELBEL JOHANN. Christ lag in Todesbanden (Christ lay in grim death's prison) Easter Cantata In recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories, e. g. motets, cantatas, magnificats, and masses. The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal, choral, and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik', that is to say, they are functional music written for specific use in the church, service. They are not music written for its own sake. Full score, performance material (BA2875), choral score (BA2875-91) available for sale/ Répertoire / SATB, 4 Parties Mixtes, 2 Violons, 3 VioleSBasson

Par DISTLER HUGO. The publication of the fourth volume concludes the New Edition of the Complete Organ Works by Hugo Distler. The organ partita 'Jesus Christus, unser Heiland' is already available in a shorter version (Choral - Bicinium - Ricercare und Satz, (Distler: Organ Works II (BA 9232), p.7). Here it is published for the first time in its original, larger form containing a chorale, eight variations and the older ricercar. This scholarly-critical edition includes a comprehensive Foreword on Distler's organ works, a detailed Critical Commentary (Ger/Eng) as well as a complete facsimile of the source material and registration examples from Distler's favorite organ atLübeck's St Jakobi Church./ Répertoire / Orgue

Easter Cantata. Par PACHELBEL JOHANN. Christ lag in Todesbanden (Christ lay in grim death's prison) Easter Cantata In recent years the demand for making available a larger number of choral works by Johann Pachelbel (1653-1706) has made itself felt more strongly than ever before. Within the past few years the search for unpublished manuscripts of choral compositions written by Johann Pachelbel has been taken up again and not in vain. Approximately twenty instrumentally accompanied arias and thirty elaborate choral works intended for services of worship have recently been found. These date from the days when Pachelbel was an active church musician in Erfurt and Nuremberg and include compositionsof various categories, e. g. motets, cantatas, magnificats, and masses. The excellency of Pachelbel's choral works may be attributed in large part to the magnificence and splendour of their tonal character. They are unusually vocal, choral, and singable. In the very best sense of the term they are what the Germans call 'Gebrauchsmusik', that is to say, they are functional music written for specific use in the church, service. They are not music written for its own sake. Full score, performance material (BA2875), choral score (BA2875-91) available for sale/ Répertoire / SATB, 4 Parties Mixtes, 2 Violons, 3 VioleSBasson

During his most productive period as an opera composer, Camille Saint-Saëns also wrote sacred works, among which his Oratorio de Noël has enjoyed great worldwide popularity. The colorful and opulently orchestrated Messe de Requiem was composed in 1878 in Bern. The composer dedicated it to his patron, Albert Libon. We have published this edition both with its larger orchestral forces and to enable perfomances of the Requiem in slightly reduced scoring (without losing the special characteristics of the work), in a version with a smaller orchestra consisting of 11 winds, two harps, organ and string instruments. The full score reproduces the Urtext of the Requiem with its original scoring, whereas the performance material is presented and conceived so to enable it to be performed either in the original orchestration or the version with reduced forces. / Choeur et ensemble vocal / Carus