Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Score

Three Interludes For Orchestra by Benet Casablancas was commissioned by Fundación Autor and the Spanish Association of Symphonic Orchestras (AEOS) for its World Premiere in the 2012-2013 season.The score consists of three movements – Pastorale (Tranquillo) Scherzo (Con moto) and Memento e Corale (Lentissimo Ampio e tenuto) – and has an approximate duration of 14 minutes. The spaciousness and transparency of its textures the clearness of its harmony and a general calm and quiet tone of the first and final parts set a contrast with the vigour and rhythmical vividness of its central scherzo.During the course of the piece the shape of chamber writing coexists with the greatness of orchestral peaks. The last section embraces a lower and expressive tone which ends with a great chorale that will lead to a more contemplative coda which fades into silence. Sadness for the devastating tsunami that struck Japan on those same days was present in the mind of the author at the time of writing this movement.“It shows the accused dramatic quality (especially in the third piece) which dominate the orchestral writing of the composer from Sabadell enriched by a pitch atmosphere of neo-impressionistic quality and a healthy rhythmical energy. The concert version contributed with intensity and performance depth which we hope to deepen in future performances and which motivated the greeting of Casablancas.” - Germán Gan Audio Clásica

In Tchaikovsky's symphonic output his Symphony No. 4 was a pivotal work. It announced the composer as a major symphonist of his time overshadowing his previous less-than-distinguished efforts in this form and opened the way to his last major works: the haunting Fifth Symphony and the biographical Sixth the profound 'Pathétique.'Tchaikovsky's Fourth Symphony ? written in 1877 at the age of thirty-seven ? offers itself as an intensely personal statement. Dramatically shaped and brilliantly orchestrated it captures a theatrical quality and orchestral color that shaped the composer's symphonic fantasy Francesca da Rimini written just a year earlier. The Fourth opensunequivocally with the thrust of a brass fanfare ? the 'fate' motive that is to reappear in the last movement ? then flows with the effortless quality that characterizes Tchaikovsky's great generously melodious ballet scores. The second movement lingers over one of the composer's most poignant melodies and the third ? the Scherzo ? offers a delightful fantasy from this master orchestrator: the charming Pizzicato ostinato a unique moment in the entire orchestral literature.The symphony is reproduced here from the authoritative Breitkopf & Härtel edition with bar-numbered movements and ample margins at the bottom of each score page for notes and analysis. Ideal for study in the classroom at home or in the concert hall this affordable high quality conveniently sized volume will be the edition of choice for music students and music lovers alike.Reprint of the Breitkopf & Härtel edition.

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946) often regarded as the greatest Spanish composer of the 20th century wanted to write an opera based around themes from Chopin whomhe greatly admired. The stage work was never finished; however several attempts have been made to arrange the work for orchestra most successfully by the Catalan conductor Antoni Ros-Marb .Despite its history this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin’s work in general with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.

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

Wish You Were Here written for the Boston Pops pays homage to Colin McPhee one of the first western musicologists to study Balinese gamelan as well as to the great illustrators Carl Barks and Herge (responsible for Donald Duck & Tintin respectively). Muhly has written a completely romantic and fanciful gamelan-influenced piece. On top of this twittery and excited music a long lonesome melody unfolds. After a desolate interlude with severe ship’s-horn brass the energetic patterns start again and the long line returns this time with a triumphant revelatory ending. Arranged for orchestra this piece has a duration ofapproximately 8 minutes.

The piece for string orchestra Infinite Melody is dedicated to the great shadows in Bayreuth Wagner and Liszt. An evocative miniature like a style study it was requested by youth ensembles participating in the artistic festival in this city. A polyphonic technique involving immanent sounds is used which was also used in The Modal Column. The passage of the melodic relief from one group of instruments to another induces a feeling of perpetual quest. From Wagner and Liszt’s infinite melody a few external characteristic aspects are employed: 1. the grupetto which tends to amplify the importance of a sound and 2. the Auftakt fromthe beginning of each phrase as in Tristan and Isolde At the climax of the piece an impact with a few authentic themes takes place cited from Wagner (Siegfried-Idylle) and Liszt respectively (Faust-Symphonie).

J.S. Bach?s Four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites nowpresents the Urtext as found in the ?New Bach Edition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.- Urtext editions of these important works.- Newly engraved parts and fully realized continuo.- For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.- Full scores study scores and performance material available for sale.

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

J.S. Bach?s four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach?s extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig. These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ?New Bach Edition?.At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter?s new edition of Bach?s great four suites now presents the Urtext as found in the ?New BachEdition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a ?Violino concertato? part.Urtext editions of these important works.Newly engraved parts and fully realized continuo.For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ? Violino concertato ? is included.Full scores study scores & performance material available for sale

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Concert Overture-The Hebrides Op.26Concert OvertureThe Hebrides the third in Bärenreiter’s series of critical editions of Mendelssohn’s great overtures is one of Mendelssohn Bartholdy’s most performed compositions.  Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s.The new Bärenreiter edition consist of two versions each containing additional material from further sources.Version one the “Rome” version exists itself in two versions and has never been published in a performing edition.  Version two the “London” version also exists in two versions one of which was published by Mendelssohn in 1835.This pioneering edition documents the development of the composition and the various changes made by Mendelssohn.  The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 1 contains:-Playing Tag (Richard Ling); Eastern March (Richard Ling); Autumn from Four Seasons (Vivaldi); Entertainer (Joplin); St.Anthony Chorale (Brahms/Haydn); Jazz Train (Richard Ling); Caribbean Carnival (Richard Ling); Hark the herald angels sing.

En Saga Op.9 is a tone poem for orchestra and is one of the composer's earliest orchestral works filled with youthful dynamism and energy. It is also highly atmospheric clearly evocative of the composer's beloved Finland – its people proud history countryside and landscapes. The title translates as the Swedish (rather than Finnish) for A Fairy Tale suggesting a programmatic work but despite there seeming to be a 'story' present the composer never identified any specific extra-musical inspiration.The work was originally composed in 1892 but not to great success. However the composer later revised the work in 1902 shortly afterhaving composed the Symphony No.2 when it received the acclaim it deserved.Available here is a study score of Sibelius' tone poem En Saga Op.9 which is ideal for study and perusal usage.