Ce jeu de pratique et de l'édition étude marque la première en un seul volume la publication de cinq agrafes grands du répertoire orchestral: Jubilé Overture, Overture à l'Preciosa jeu, et des ouvertures à des opéras Der Freischütz, Euryanthe, et Obéron.L'un des premiers compositeurs de l'école romantique de la note de Carl Maria von Weber conçu conceptions nouvelles de la matière d'orchestration et sous réserve qui ont contribué à jeter les bases d'opéra du XIXe siècle. Marschner, Meyerbeer et Wagner ont été influencés par les travaux de Weber, ainsi que des derniers jours compositeurs tels que Paul Hindemith, Mahler, Stravinsky et Debussy, qui a remarqué que le son de l'orchestre de Weber dérivé de l'examen par le compositeur de l'âme de chaque instrument .Réimpression de 'Preciosa' à partir d'un Breitkopf et Härtel, Leipzig, sd édition. Tous les autres de Overtüren für Orchester von CM von Weber, C. F. Peters, Leipzig, n.d. / Orchestre

Best remembered for his extraordinary advancement of Piano technique, Franz Liszt saw himself in quite a different light: as an innovative composer prepared to move beyond convention into uncharted waters. He and Richard Wagner were allies in Zukunftsmusik, the 'music of the future,' a new approach that was liberated from all prescribed rules of musical form. Liszt invented the tone poem, and this work is his most famous example. Inspired by Goethe's great verse drama, A Faust Symphony premiered in 1857. The three-movement work musically depicts the essence of Faust, Gretchen, and Mephistopheles, the characters who drive Goethe's tale. Brilliantly innovative and endlessly fascinating in its transformations of thematic materials, the work has influenced many major composers, including Strauss and Debussy, and remains frequently studied, performed, and recorded. This affordable edition was reproduced from an authoritative text and features an informative Introduction by a renowned expert on Liszt . / Orchestre

Lento is monolithic; major and minor triads generate a sequence of processionals. The tempo is more or less constant. It uses the same orchestral forces as Wagner's prelude to Parsifal though deployment is radically different. Most of Lento is scored for strings only. A central episode turns the spotlight on the trombones and the bassoons. Otherwise woodwind brass and timpani serve primarily to lend weight to restatements of the two principal subjects.

Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject

Par BIZET GEORGES. Incredible as it seems today, Bizet's opera Carmen was coolly received at its 1875 premiere at the Paris Opera-Comique; critics condemned its subject matter as lurid and its music as overly Wagnerian. Now hailed as the composer's supreme achievement, this colourful, passionate work continues to delight listeners around the world with its emotional, atmospheric music and the originality of its conception./ Répertoire / Orchestre