Edizione critica a cura di Fulvio Luciani. Par BACH JOHANN SEBASTIAN. A new critical edition of Bach?s Sonatas and Partitas for solo violin ? possibly the very pinnacle of the whole repertoire for violin ?, by violinist Fulvio Luciani. The edition is based on the autograph and is equipped with an apparatus of critical notes: they indicate problems with the reading of the original source, suggest possible new solutions, alternative to the widely accepted ones, and retrace the history of harmonic perception, as evidenced by the changes the composition went through across all its historical editions. The curator provides indications (clearly distinguishable from the original source) for the performance, the bowings specifically. They are suggestions founded in the observation of the technical apparatus pictured by Bach in his genius: a hand technique closer to a pianist?s than a traditional violinist?s; a mechanism we could call pioneering to this day. / Date parution : 2022-10-12/ Recueil / Violon

Par AMLIN MARTIN. Martin Amlin's new tour de force is a quintet composed for Leone Buyse. It is a study in textures and canonic gestures scored for 5 C Flutes, each doubling Piccolo. As with his rhythmic writing, Amlin's movement titles are engagingly cryptic yet meaningful: I. Apparatus, II. Miremi, III. Spiral Canon. Ideal for advanced and professional flutists, the work's intricacies create an exhilarating ten minutes. Martin Amlin's new tour de force is a quintet composed for Leone Buyse. It is a study in textures and canonic gestures scored for 5 C Flutes, each doubling Piccolo. As with his rhythmic writing, Amlin's movement titles are engagingly cryptic yet meaningful: I. Apparatus, II. Miremi, III. Spiral Canon. Ideal for advanced and professional flutists, the work's intricacies create an exhilarating ten minutes./ Répertoire / 5 Flûtes Traversières

Edizione Critica A Cura Di Claudio Toscani. Par PERGOLESI GIOVANNI BATTISTA. EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705), Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera – his second dramma serio for San Bartolomeo in less than two years – the young composer (who had already acquired considerable professional stature in the city’s theatres, churches, and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one’s betrothed. Inserted between the opera’s three acts were the intermezzi of La serva padrona, which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica “San Pietro a Majella” in Naples and prepared by Giuseppe Sigismondo, who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted, along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction, which traces the libretto’s complicated literary lineage and illustrates the circumstances of the opera’s commission, genesis, premiere, and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia, and an aria for the third act whose text does not appear in the original printed libretto, are provided as appendices. / Date parution : 1905-07-09/ Répertoire / Solistes, Choeur et Orchestre

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

The Works of Giuseppe Verdi is the first critical edition of the composer's oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works. Based on Verdi's autograph score and an examination of important secondary sources, including contemporary manuscript copies and performing parts, this edition of Il trovatore identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations. _ e introduction to the score outlines the work's genesis, sources, and performance history, while the critical commentary discusses all editorial decisions. / Orchestre Et Voix

Versuch eines Requiems. Par HARTMANN KARL AMADEUS. Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. / Date parution : 1965-11-20/ Répertoire / Voix d'Alto et Orchestre

Par BEETHOVEN LUDWIG VAN. Like the “Eroica Variations” op. 35, the Variations op. 34, were composed in 1802 on an original theme. The “new fashion” Beethoven declared for both works to his publisher becomes apparent in opus 34 through the constant change of keys; from one variation to the next, new tone colours and moods continue to unfold, spanning the pastoral and the funereal, while the melody of the theme remains largely unaltered. For the first time, the Variations op. 34, are now available from Henle in a standalone edition. The musical text of the Urtext edition, with extensive foreword and commentary, was prepared on the basis of the later Critical Apparatus of the BeethovenComplete Edition. Here, too, the fingering comes from the esteemed hands of Ian Fountain. / Loy, Felix / Répertoire / Piano

Toccata Ix-Xii. Par MUFFAT GEORG. Org / Date parution : 1690-01-01/ Répertoire / Orgue