October Sky

James Taylor: October Road, arrangées pour Piano, Voix et Guitare. / Niveau : Intermédiaire à Avancé / Rép International / Recueil / Piano, Chant et Guitare

for Full Orchestra. Par WHITACRE ERIC. The continuing popularity of Eric Whitacre's dramatic and evocative music is evident in concert programming everywhere, with his symphonic, choral, and operatic works. October is arguably his most notable symphonic work, now adapted in this stunning version for full orchestra. / Date parution : 2022-11-29/ Répertoire / Orchestre

Par GLERUP RUNE. As premiered by the virtuoso French string quartet Quatour Diotima in Copenhagen in October 2018. As premiered by the virtuoso French string quartet Quatour Diotima in Copenhagen in October 2018. / Date parution : 2020-04-11/ Répertoire / Quatuor à Cordes

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

a 6 et a 8. Par MOZART WOLFGANG AMADEUS. The Serenade in E-flat, K. 375, exists in two versions, one for two clarinets, two horns and two bassoons, and another for the same forces plus two oboes, forming an octet. From Mozart himself we know a fair amount about the occasion that led to the first, six-instrument version of this work and about its early performances. Written for the sister-in-law of the court painter Hickl, it probably originated toward the end of September or the beginning of October in 1781 and was first performed on 15 October, the name-day of St. Theresa. The octet version probably arose in the summer of the following year. It is far more than a mechanical expansion of the sextetwith the oboes merely reinforcing the clarinets colla parte. Not only did Mozart take advantage of the occasion to make changes in the articulation and the dynamics, he also altered the work's melodic substance and formal design. The two additional high-register instruments allowed him to achieve more subtle distinctions and gradations of timbre, thereby enabling him, for example, to vary the timbral homogeneity of the two clarinets. The opportunity arose to divide melodic phrases among the clarinets and oboes or to make them more brilliant and incisive by doubling them at the unison or octave. - Urtext of the New Mozart Edition - Parts sextet version (BA5333), octet version (BA5334) and study score both versions format 22. 5 x 16. 5cm (TP315) available for sale/ Répertoire / Partition de Poche

This new series, written especially for violin, viola, and cello, is a first of a kind, containing arrangements of some of the most popular move themes over the last few decades that can be played together or as solos. All parts have been carefully edited, with bowings and articulations, in keys well suited for the young string player. Titles are: In Dreams (from The Lord of the Rings: The Fellowship of the Ring ) * Across the Stars (from Star Wars®: Episode II Attack of the Clones ) * Duel of the Fates (from Star Wars®: Episode I The Phantom Menace ) * Fawkes the Phoenix (from Harry Potter and the Chamber of Secrets ) * Gollum's Song (from The Lord of the Rings: The Two Towers ) * James Bond Theme (from Die Another Day ) * Goldfinger (from Goldfinger ) * Hedwig's Theme (from Harry Potter and the Sorcerer's Stone ) * October Sky (from October Sky ) * Theme from Jurassic Park.

Each arrangement is designed to appropriately fit the indicated levels; key signatures, note ranges, phrasing and articulations were carefully considered and clearly marked. The arrangements in this series are completely compatible with each other, and can be played together or as solos. The included CD contains both performance tracks and accompaniment tracks. Titles are: Hedwig's Theme (from Harry Potter and the Sorcerer's Stone ) * Across the Stars (from Star Wars Episode II: Attack of the Clones ) * Duel of the Fates (from Star Wars Episode I: The Phantom Menace ) * Fawkes the Phoenix (from Harry Potter and the Chamber of Secrets ) * Gollum's Song (from The Lord of the Rings: The Two Towers ) * October Sky (from October Sky ) * Soul Bossa Nova (from Austin Powers ) * There You'll Be (from Pearl Harbor ) * James Bond Theme (from Die Another Day ) * In Dreams (from The Lord of the Rings: The Fellowship of the Ring ).

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Violon 1 (Partie Séparée)

If the nickname 'Appassionata? was appropriate for one of Beethoven's Sonatas, it would be for his E-flat major Sonata op. 7 rather than his famous work in F minor op. 57. This was Carl Czerny's opinion who felt that op. 7 was written in a rather passionate state of mind. It was not only Beethoven's first 'Grande Sonate? but also his first work of this genre which he had published individually.The earliest sketches for Beethoven's Grande Sonate op. 7 date from 1796 and the first edition was issued in October 1797. This work is one of the longest and most demanding of Beethoven's piano sonatas. Its four movements cover a wide range of emotions - a challenge that may well have overtaxed the dedicatee, Beethoven's then 16 year old pupil Anna Luise Barbara (Babette) Countess Keglevicz.The worldwide renowned Beethoven specialist Jonathan Del Mar draws on all available sources for his scholarly-critical Urtext edition. The result of his thorough research is a reliable musical text accompanied by a detailed Critical Commentary. The elegant engraving with practical page turns and an optimal layout for this complex music meet the needs of performers. Indispensable information on performance-related issues (the use of the pedal, articulation, ornaments) adds to the value of this edition. / Piano

Par GAQUERE BORIS. Tango del Vértigo was commissioned by Jeunesses Musicales du Brabant Wallon for the 25th anniversary of the Kaléidoscope de la Guitare (guitar festival in Rixensart, Belgium). This work was premiered on October 10th, 2015 by Roberto Aussel and the St. George Quintet at the Ferme de Froidmont (Rixensart, Belgium)./ Recueil / Guitare et Quintette à Cordes

Par SCHOCKER GARY. Entre Nous is a four-movement suite for Flute and Harp, premiered in the Salle Cortot concert hall (Paris, France) in October 2017. The movements are titled: Promenade, A Gaspar, Une Baignade, and On y Va!./ Répertoire / Flûte Traversière et Harpe