Shadow of Paradise was written specially for Melinda Maxwell. The work was completed in 2005 the same year that she recorded the work together with Richard Benjafield (percussion) for the Dutton label.'The work is based on the poem by Samuel Taylor Coleridge Kubla Khan and I have attempted to capture some of the spirit of his highly evocative text in my music.It is structured in three main sections: the opening section (And ‘mid this tumult Kubla heard from far Ancestral voices prophesying war) is dramatic in nature with the oboe announcing two ideas - the first a high repeated note rhythmic pattern (later with multiphonics) answered by six differentlypitched drums and temple blocks and the second a short lyrical phrase mainly built on thirds.In the second section (A damsel with a dulcimer In a vision once I saw…Could I revive within me Her symphony and song) the solo oboe transforms the repeated notes and thirds of the first section into a love song underpinned by the percussionist’s vibraphone and crotales.A short reprise of the very opening leads into the final section (Beware! Beware! His flashing eyes his floating hair! Weave a circle round him thrice…) which mirrors the text with three short dances in chain form folk-like in character and increasingly climactic. A final reprise of the opening seems to suggest a violent end but the oboe’s echo of the love song answered by the percussionist’s crotales brings the work to a gentler conclusion.'            Edward Gregson - December 2011Instrumentation:Solo oboeSolo percussion (6 temple blocks 2 bongos 4 tom-toms vibraphone crotales 2 tambourines)

Northumberland Impressions (Op. 42a) is a suite for solo Oboe with Piano accompaniment. It was written by Alan Bush in 1953 and first performed in the same year by the oboist Joy Boughton with the composer accompanying on the Piano. It is scored in three movements: Prelude - Lament - Dance.Alan Bush (1900-1995) was a British composer and pianist. He studied at the Royal Academy of Music and the University of Berlin and also took private lessons in composition with John Ireland. He later taught at the Royal College of Music. His compositions include several operas four symphonies and a large volume of chambermusic.

Par STRANZ ULRICH. For many years the manuscript of 'Déjà vu' slumbered in the music library of oboist Hansjörg Schellenberger (former solo oboist of the Berlin Philharmonic) before it was rediscovered last year. Ulrich Stranz composed this solo work for Oboe d'amore, the alto instrument in the oboe family, at the end of his student years in 1974 as the nucleus of his later identically named concert piece (BA06292-72). The dedicatee Hansjörg Schellenberger refers to it as a 'masterwork' and 'an important enrichment of the repertoire of oboists'. / Date parution : 2022-11-08/ Répertoire / Hautbois d'Amour

Saxophone-Metamorphoses after Britten was written for Melinda Maxwell for UYMP's Signals volume of new music for Oboe. It was first performed by Melinda at York University on 24th November 2010.I - A MountainII -FixationIII - FlowersIV - Fountains Metamorphoses after Britten by philipvenables 'Metamorphoses after Britten arejust that: four miniatures each inspired by one of Benjamin Britten’s Six Metamorphoses after Ovid for solo oboe. Each movement over its short course transforms gradually from one thing to another ending with the exception ofFountains in a short cathartic coda. Some of the movements also take specific musical elements from Britten’s pieces.I very much viewed these pieces as musical Haiku and in that sense I hope they embody a sense ofpeace brevity and simplicity.The oboe version of Metamorphoses after Britten is dedicated to Melinda Maxwell.The saxophone version of Metamorphoses after Britten with an additional movement is dedicated to Vickiand Andrew Vaughan'      - Philip Venables     

Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Violoncelle

Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Contrebasse

Keyboard fireworksAs early as 1743, while Handel was still alive, Francesco Geminiani produced an arrangement of the 'Water Music? for keyboard instruments, thereby making it possible to perform this popular work in domestic surroundings. Then, presumably in 1749, an unknown musician arranged the 'Music for the Royal Fireworks? for transverse flute or violin and harpsichord.In addition to these two contemporary versions, this edition also contains an arrangement by the editor for harpsichord or organ, based on the first edition. Though both early sources explicitly mention a harpsichord, the arrangements can also be performed effectively note-for-note on the organ.As the surviving anonymous version merely places a solo part and a figured bass on a two-stave system, our edition is accompanied by performance material with one part each for transverse flute/oboe/violin and violoncello/double bass,plus a figured bass realisation.- Musical text with arrangements by two Handel contemporaries as well as the editor's own arrangement for harpsichord or organ- All editorial additions are clearly marked- Equally effective when performed note-for-note on the organ / Ensemble Mixte

for Oboe and Orchestra. Par MOZART WOLFGANG AMADEUS. Oboe Concerto In C Major K. 314. Oboe Solo, Oboe (2), Horn (2), Violin (2), Viola, Violoncello, Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scoresare distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Hautbois et Orchestre

80 movie themes that work perfectly as piano solos, including: American Beauty - Bellas Lullaby - Breakfast at Tiffanys - Cinema Paradiso - The English Patient - Far and Away (Main Theme) - Forrest Gump - Main Title (Feather Theme) - Gabriels Oboe - The Godfather (Love Theme) - Hedwigs Theme - Hymn to the Fallen - Il Postino (The Postman) - Jacobs Theme - Theme from Jurassic Park - Last of the Mohicans (Main Theme) - Theme from Lawrence of Arabia - The Man from Snowy River (Main Title Theme) - The Naked Gun from the Files of Police Squad! - On Golden Pond - A Prayer for Peace - The Promise (Ill Never Say Goodbye) - Raiders March - Ratatouille Main Theme - Theme from Schindlers List - Somewhere in Time - Star Wars (Main Theme) - Theme from Terms of Endearment and more./ Recueil / Piano

Concerto for piano and orchestra. Par MOZART WOLFGANG AMADEUS. Piano Concerto No. 25 in C major K. 503. Piano Solo, Flute, Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. TheStudy Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Piano

24 Pieces For Piano. Par WOLF PETER E.. Péter Wolf (a doctoral graduate of the Franz Liszt Academy of Music in Budapest) has composed a number of large-scale compositions in recent years which have had success at the hands of distinguished performers: these include two piano concertos as well as concertos for oboe, clarinet, and violin. By entitling his newest set of pieces for piano Wolf-temperiertes Klavier, the composer was able to simultaneously indulge in wordplay based upon his surname and give a tip of the hat to German baroque master Johann Sebastian Bach. The work's likeness to Bach is not limited to its title - the manner in which a piece has been written in both major and minor keys for each tone of the chromatic scale is blatantly inspired by Bach. In the preface to this publication, Wolf offers the following insights: ''I think I managed to find expressive titles. The first piece, Epiclesis (a prayer for inspiration, patience, and support), was heard from above: I was able to work continuously and without inhibitions. The works could be born in every key, until the last one, the Epilogue, was completed. When I finally finished inscribing the pitches of Bach's name, I admit, a little shiver went through me.'' Of the character pieces, all were completely new with the exceptions of one being previously written and another whose theme Wolf borrowed from one of his own stage works. Wolf-temperiertes Klavier is recommended for advanced pianists who wish to push the boundaries between musical genres, as well as classical musicians interested in the harmonic language of jazz. / Niveau : Intermédiaire à Avancé / Musique contemporaine / Répertoire / Piano

Par BENJAMIN GEORGE. A beguiling 20-minute work for countertenor, women's voices and orchestra, Dream of the Song, George Benjamin's first work since his ground-breaking opera Written on Skin, was premiered in 2015 by the countertenor Bejun Mehta, the Netherlands Chamber Choir and the Royal Concertgebouw Orchestra conducted by the composer. Employing a reduced orchestra (two oboes, four horns, two percussionists and two harps and strings), the work sets verse by three major poets who spent formative years in Granada- two Hebrew poets of mid-11th century, Samuel HaNagid and Solomon Ibn Gabirol (sung by solo countertenor in English versions by Peter Cole), and Gabriel Garcia Lorca (sung by the female chorus in the original Spanish). This inspired pairing of texts creates a rich, melancholy and strange poetic conjunction, expressed most beautifully in the final movement which, overlaying soloist and choir, offers two simultaneous visions of dawn, conceived a millennium apart./ Répertoire / Choeur

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Solomon is an English oratorio by George Frideric Handel. The anonymous libretto is based on the biblical stories of wise king Solomon from the First Book of Kings and the Second Book of Chronicles with additionalmaterial from Antiquities of the Jews by ancient historian Flavius Josephus. The music was composed between 5 May and 13 June 1748 and the first performance took place on 17 March 1749. The oratorio contains a short and livelyinstrumental passage for two Oboes and Strings in Act Three known as The Arrival of the Queen of Sheba which has become famous outside the context of the complete work.The familiar Baroque melody ofThe Arrival of the Queen of Sheba has been masterfully transcribed for intermediate level (Grade 5-6) solo Piano.

Couverture Rigide. Par MARTINU BOHUSLAV. Replaces H 277 The two concertos contained in this volume represent two different stylistic periods within Martinu's work. The 'Concerto da Camera” (1941) is the last of his works inspired by the Baroque concerto grosso. The 'Rhapsody-Concerto”, composed eleven years later (1952), was the first work of his so-called 'fantasia period”, marked by a more open sense of form and an expansion of tonality. The edition of the 'Concerto da Camera' shows, for the first time, the extend of Martinu's modifications to the work since its composition and publication, particularly on the solo violin part. The edition of the 'Rhapsody-Concerto” takes into account, among others, the discovery of previously unknown contemporary performance materials. This volume of the Bohuslav Martinu-Complete Edition (BMCE) is based on a wealth of text and music sources, in particular autographs and contemporary copies that were recognized by the composer and early performers of the works, as well as some first editions created in collaboration with Martinu./ Répertoire / Conducteur