In Full Score. Par TCHAIKOVSKI PIOTR ILITCH. One of the most popular pieces ever created for ballet, displaying the composer's virtuosity in creating varied orchestral colours. Authoritative edition. One of the most popular pieces ever created for ballet, displaying the composer's virtuosity in creating varied orchestral colours. Authoritative edition./ Répertoire / Orchestre

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. Composing a total of seven lute concertos during his lifetime this Concerto in F Major No. 1 is the most popular. It is in three movements: Allegro Adagio and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modernnotation) and guitar (capotasto). Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. Composing a total of seven lute concertos during his lifetime this Concerto in F Major No. 1 is the most popular. It is in three movements: Allegro Adagio and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modernnotation) and guitar (capotasto).

Two Movements from Karl Jenkins’ popular Adiemus arranged here for a Flexible Ensemble. Originally written as a piece for a Delta Airlines television commercial the fusion of ethnic vocals and orchestral backing proved so popular with consumers that a full-length Adiemus album Songs of Sanctuary was created with the aid of vocalist Miriam Stockley and the London Philharmonic Orchestra in 1995. This item contains the full score for Flexible Ensemble complete with parts for photocopying.

Par TCHAIKOVSKI PIOTR ILITCH. Along with Swan Lake, The Nutcracker represents one of Tchaikovsky's most popular and most-performed works. Based on E. T. A. Hoffman's The Nutcracker And The Mouse King, the piece was commissioned in 1891 and first performed in St Petersberg the following year. The story of enchanted toys and Christmas magic has become a firm favourite, and the piece was the first historically to make orchestral use of the Celesta. As a work of previously unrivalled orchestration, the piece has become vital reading for those studying the development of the orchestra, or important Romantic works./ Répertoire / Orchestre

2nd Septenary-Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his La Transfiguration De Notre-Seigneur Jésus-Christ for Choir Seven solo instruments and Orchestra is no exception to the composer's popular distinctive style. Composed between 1965-1969  La Transfiguration De Notre-Seigneur Jésus-Christ is based on the account of Jesus' Transfiguration found in the Gospels of Matthew Mark and Luke. The work requires a huge 200 performers and with 14 movements a typicalperformance lasts about an hour and a half. La Transfiguration De Notre-Seigneur Jésus-Christ incorporates Messiaen's popular compositional techniques such as his modes of limited transposition and the use of birdsong. Texts are largely based on the Bible. La Transfiguration De Notre-Seigneur Jésus-Christ is essential to all advanced musicians seeking to expand and vary their ensemble repertoire on a large-scale.

Rossini's popular overture is now available with complete performance material on sale. It is newly edited based on the forthcoming volume of the 'Works of Gioachino Rossini' (BA10506).This scholarly-critical practical edition contains almost two works in one as Rossini composed this overture firstly for his opera 'Aureliano in Palmira' and then also used it in 'The Barber of Seville'. The two overtures differ simply in their instrumentation.This new edition is an Urtext edition. Free of later additions to the instrumentation and other changes it reproduces this famous work in the version which Rossini intended.Conductors can nowchoose to perform the overture to 'The Barber of Seville' without the frequently added second flute second oboe and drums which were not part of the opera's original instrumentation.First Urtext edition of the popular overtureForeword (Ger/Eng/It)Optimal page-turns in the parts

Carmen' is one of the most popular and most frequently performed operas across the globe. Its world premiere was a flop which the composer Bizet did not live to see. Nevertheless, the opera very quickly gained acceptance at all major theatres, bringing in its wake countless arrangements of some particularly beautiful music numbers.It was, in all probability, Bizet's close friend and fellow student Ernest Guiraud who brought 12 numbers of the opera together to form two orchestral suites. After the first Carmen Suite which unites the most beautiful instrumental settings, the second suite with arrangements of the best-known vocal pieces is now available as well. The musical text is based on our new scientific edition of the opera edited by Robert Didion. / Orchestre

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Sinfonische Fantasie. Par SIBELIUS JEAN. The tone poem Pohjola's Daughter Op. 49 - a ‘ Symphonic Fantasy for Large Orchestra' - was written by Finnish composer Jean Sibelius in 1906. The story is a variation of Orpheus in the Underworld, depicting a hero (Väinämöinen) who spotted the beautiful ‘ daughter of the North' (Pohjola), seated on a rainbow. The hero asked her to join him, but she agreed with the condition that he should be able to perform a number of difficult tasks & most notably, building a boat from fragments of her distaff. However the hero's attempt was in vain, as he was thwarted by evil spirits and injured himself withan axe. He gave up the challenge and continued his journey alone. A full score for Prokofiev's popular Kalevala -inspired symphonic poem Pohjola's Daughter Op. 49./ Répertoire / Orchestre

Par SAINT-SAENS CAMILLE. Written in 1886 for an annual Mardi Gras concert, The Carnival Of The Animals consists of 14 pieces scored for flute/piccolo, clarinet, glass harmonica (tuned glass bowls), xylophone, 2 pianos and strings. Each piece embodies a zoological motif, painting a musical picture of - among others - a lion, chickens, turtles, an elephant, kangaroos and the immensely popular swan, In his joyful musical romp, the composer borrows from well-known classical works, including references to Berlioz and Mendelssohn in 'The Elephant' and passages of his own Danse Macabre in 'Fossils'. Reprinted from the original, authoritative score, this handsome and inexpensiveedition will charm musicians and music lovers everywhere./ Répertoire / Orchestre

E-moll Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)