Rued Langgaard's Tonebilleder / Tone Pictures for Voice and Orchestra (1917) BVN 133. Texts by Jenny Blicher-Clausen Ivan Turgenjev Thor Lange and Holger Drachmann. Critical edition by Bendt Viinholt Nielsen / The Rued Langgaard Edition.

Rameau's 'Les Fêtes de l'Hymen et de l'Amour? was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as 'Zaïs?, 'Zoroastre? and 'Les Boréades?. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from 'Aruéris?, a scoring found nowhere else in his oeuvre.For the first time, this scholarly-critical edition of 'Les Fêtes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Académie Royale de Musique in 1748.- Milestone of French Baroque opera in performance practice orientated vocal score- With a brief foreword (Fr/Eng) containing salient information on the genesis of the work, the synopsis and the edition / Orchestre

Full Score. Par BERLIOZ HECTOR. Hector Berlioz (1803–1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries — Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven — Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called 'program music' — i. e. , instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these 'program' pieces: the Symphonie Fantastique (1830) and Harold in Italy (1834). Here are the full scores of both major symphonic works — painstakingly reproduced from the authoritative Breitkopf & Härtel edition, available for the first time in one convenient volume — plus Berlioz's 'program' for the Symphonie Fantastique. Musicians and music lovers everywhere will value this high-quality, inexpensive edition — ideal for study and performance. Reprint of Nos. 1 and 3 of Serie I, Symphonien (1900), of Werke von Hector Berlioz, Breitkopf and Härtel, Leipzig, 1900–1910. Breitkopf & Hartel edition./ Répertoire / Orchestre

Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

Par CASABLANCAS BENET. Shade and Darkness, lasting some 12:30 minutes, was co-commissioned by the Centro Nacional de Difusión Musical and the Festival Internacional de Música y Danza de Granada. The work is inspired by Turner's famous painting of the same name, subtitled 'The Night Before the Flood', although this does not imply any programmatic or even less descriptive intention, beyond the composer's admiration for the painter, and for the richness of tones and chiaroscuro, subtlety in the treatment of pictorial matter, and the dynamism and emotional force present in his work, to whose depth John Ruskin alludes: 'Nuance is in Turner, first of all, a beautiful aid to the great impression to be conveyed, but it is neither the source nor the essence of that impression; it is little more than a visible melody... preparing the feelings for the reading of the mysteries of God.' The score, generous in expressive contrasts, explores the ductility and richness of possibilities of the strings, with a very diversified use of textures, densities and colours. The formal arrangement describes a wide ternary arc, consisting of two slow and often static sections - not without ominous foreboding - and a more lively central part, punctuated by occasional turbulence and dazzling flashes of timbre, culminating in a powerful climactic process. In the final bars the four voices of the classical quartet fleetingly emerge, as a tribute to Günter Pichler, founder and member of the Alban Berg Quartet, to whom the score is dedicated, and who conducted the premiere of the work in front of the Joven Orquesta Nacional de España on 24 and 25 June 2014 at the Auditorio Nacional de Música in Madrid and in the Patio de los Mármoles del Hospital Real in Granada. / Date parution : 2022-03-15/ Répertoire / Petit Orchestre

Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.

Mark Hayes does it again in his stellar adaptation of a true sacred evergreen. Mark's colorful orchestrations are highly imaginative and there is liberal use of solo voice making this piece not only a great choral moment but ashowcase for solo voice as well. The Holy City is destined to become an instant classic!

Full Orchestration-Here is a serious major work from legendary composer Mark Hayes. This auspicious composition is destined to become a standard setting of this text and fans of this composer's oeuvre will be thrilled to discover the tremendousscope of this remarkable work. Scored for organ and voices the composer provides both full and chamber orchestration options. Includes solos for mezzo-soprano and baritone. Available separately; SSAATTBB Mezzo sorprano baritonesolo organ; Listening CD; Full Orchestration; Chamber Orchestration; SSAATTBB Book/Listening CD combo.

Par BACH JOHANN SEBASTIAN. Kantaten. Urtext Der Neuen Bach-Ausgabe/ Répertoire / Solistes (SATB), Choeur Mixte (SATB) et Orchestre