Par RAMEAU JEAN-PHILIPPE. Rameau’s only extant opera based on a libretto by Voltaire has come down to us in two versions (1745 and 1746), that of 1745 having long been regarded as lost. Volume IV.12 of the “Opera omnia Rameau” now provides a complete edition for the first time and thus the means to perform both versions. Voltaire refers to Metastasio in his libretto, in that he wanted to liberate the opera from the gallant milieu in order to make it a moralising and at the same time both edifying and political work of art for the stage. Following a prologue dedicated to the personified Envy, the tyrants Bélus and Bacchus are chased out of the Temple of Glory and Trajan is finally crowned with a laurel wreath for defeating the rebels, forgiving them and then transforming the Temple of Glory into a public temple. The music contains many remarkable passages, examples being a richly orchestrated overture, the famous monologue “Profonds abîmes du Ténare” with obbligato bassoons and Trajan’s artful final scene “Ramage d’oiseaux”. The opera’s individual instrumental movements are also available in the customary manner now as a practical separate edition. The performance material is available on hire./ Répertoire / Orchestre

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Score-This work is perhaps best described by the composer Tan Dun: 'About five years ago I went to an exhibition on the works of painter Paul Klee at the Museum of Modern Art in New York. I was extremely moved and wanted to write asymphony. This became a discussion a diologue between myself and Klee's painting but not in any sense a musical description of any particular paintings. Although constructed of many small sections my symphony is imagined as acomplete continuous work.'

Herrmann wanted to write a musical portrait of his friend and colleague Alfred Hitchcok so choose motifs from the movie The Trouble With Harry one of Hitchcockâ??s more personal and humorous films. This single-movement work for Orchestra employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. From the first note the creepiness begins.Bernard Herrmann was among the very greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composercreated soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had a long and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.

for Orchestra-Avskedsvariationer/Farewell Variations for Orchestra by Britta Byström (2005). Programme Note Farewell Variations sees the careful approach towards Haydn by Britta Byström. Although you have the title reference to the ”Farewell” Symphony Haydn’s Symphony No. 45 Byström’s approximations are being made in a subtle way similar to her free interpretation of literary works. You will not find any direct thematic connections between Byström and Haydn. Byström’s Haydn inspiration comes in form of the various titles which have been given to a lotof Haydn symphonies in the post-Haydn era. Byström wanted to go in sort of an opposite direction: To compose music based on ”Haydnish” symphonic titles. A kind of symphonic Haydn catalogue appears in the movements. Farewell Variations consist of fourteen variations of Byström’s own thematics. The work begins in sighing and broken phrases – like the shadow of a dance. The titles of the variations lead to the description of daily events starting with morning. A day of Haydn! The last variation farewell ends with the musicians playing on by on. As such there is no story but the titles are the main focus here. Byström says that she musically ”tried to capture some of Haydn’s ease and insights”. Tony Lundman           

Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.

This is the study score featuring the complete original music by Mica Levi composed for Jonathan Glazer's stunning 2013 film Under the Skin, starring Scarlett Johansson. The score for this critically-acclaimed film is a vivid sound world constructed from Flute, Strings, Percussion and Synthesisers.Mica Levi is a classically-trained musician whose work is characterised by the experimental use of distortion, noise and found-object sounds. Her collaboration with the London Sinfonietta caught Jonathan Glazer's attention, who wanted to use her talents with creating uncomfortable and jarring yet beautiful soundscapes to complement his starkly unusual imagery. Levi won a European Film Award for best composer for this work, and she was also nominated for a BAFTA. / Conducteur De Poche