In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Violon II

Solo and Piano Reduction. A notable Czech composer, Jaromir Weinberger achieved sudden fame with the production of his opera, Svanda dudâk (Schwanda, the Bagpiper), written in a popular Bohemian style, at the Czech Opera, in Prague in 1927. Weinberger fled Europe under the growing Nazi threat and took up residence in New York in 1939, where he enjoyed a number of major orchestral performances and commissions of all kinds. One of these came from renowned saxophonist Cecil Leeson, who aske Weinberger to compose a concerto for alto saxophone and orchestra. Due to the outbreak of World War II, the premiere would not happen until 1946, six years after the completion of the concerto in piano score. The work was revised following the premiere and it is only now that those revisions have been incorporated into the solo saxophone and piano reduction with this performance edition by Weinberger scholar, publisher and saxophonist Tristan Willems.

Couperin, François
Concerts Royaux for one or two Treble Instruments, Bass Viol, Bassoon and Harpsichord
- First separate Urtext edition of the “Concerts royaux” for chamber ensemble, based on the pioneering new edition of Book III of the “Pièces de clavecin” (BA 10846)
- Preserves essential features of the original notation as well as Couperin’s original embellishment signs
- Notes on historical performance practice, glossary, Couperin’s table of embellishments and symbols (Fr/Eng) and detailed Critical Commentary (Eng)
This edition contains Couperin’s four “Concerts royaux”, which were published in 1722 as part of Book III of his “Pièces de clavecin”. For the first time it makes these pieces, scored for chamber ensemble, separately available in an Urtext edition. It is based on the musical text of the solo harpsichord version found in the pioneering new edition of “Pièces de clavecin III” (BA 10846). The editor has painstakingly evaluated the many impressions of the original print, most of which he himself discovered in libraries throughout the world.
The preface (Fr/Eng) contains informative details on historical performance practice and on the conception of the “Concerts royaux”, which Couperin expressly intended to be performed either by solo harpsichord or with accompanying ensemble. The modern engraving preserves essential features of the original print, which largely avoids page-turns within the pieces. It thereby brings today’s players close to the special sound of this music in a fascinating way. Couperin’s table of embellishments and symbols as well as a glossary (Fr/Eng) and a detailed Critical Commentary (Eng) round off this long-overdue Urtext edition. / Partitions classique / Ensemble et orchestre / Musique de chambre / BARENREITER

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Carl Nielsen's Prelude E Presto Op.52 for Violin solo dating from 1927-28.The present score is a photographic reproduction of the work as it appears inCarl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Instrumental Music Vol. II/10 Chamber Music 1

Melody (Melodi) for Organ solo was composed by Carl Nielsen in 1929. The present score is a photographic reproduction of the work as it appears in Carl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Piano and Organ Works Series II. Vol. 12      

String Quartet was composed by Mumbai-born Brian Elias in 2012 and was commissioned by the Jerusalem String Quartet. Lasting around 20 minutes this item is the Parts for the work arranged for Violin I Violin II Viola and Cello. The work has been laid out in the conventional four movements Allegro Adagio Presto Adagio-Allegro-Adagio but it is essentially a work in a single movement to be performed withno breaks. A set of double variations generates the thematic and harmonic material for the entire piece in its first few bars with a brilliant Viola solo afterwards. Throughout the piece changes in dynamics and tempocharacterise the different movements before finally ending with a calming return to the slow music.  You can purchase the  Full Score here.

Konzert für Violoncello und Orchester-For Violoncello Solo Flute (2) Horn (2) Strings.Carl Stamitz (1746 - 1801) a contemporary of Mozart and Haydn and the son of Johann Stamitz a violinist and composer worked at the Mannheim court before travelling around Europe as a virtuoso violinist and composer. He wrote 3 wonderful Cello concertos - charming wonderfully crafted works full of beautiful tunes.Here we present the Cello Concerto No.1 In G dedicated to Frederick William II of Prussia a gifted amateur musician.Full score parts and a Cello and Piano reduction available.

Cherubini owes his fame as a church composer primarily to the 'Requiem in C minor? of 1817. It was held in extraordinarily high esteem by such composers as Beethoven and Schumann and served as a model for early 19th-century Requiem settings. Dispensing entirely with solo voices, it captivates with its rigorous formal concentration and its restrained use of musical resources in both choir and orchestra.This Urtext edition takes into account not only the autograph score with 'spartitino? (additional instruments written in by hand) but also the first edition and a copyist's manuscript.Rounding off this exemplary Urtext publication is an informative Introduction and a Critical Commentary (Eng).- Cherubini's well-known Requiem in a definitive Urtext edition- Bilingual Foreword (Eng/Ger)- Idiomatic, uncluttered piano reduction / Violon II

Carl Nielsen's Prelude Theme And Variations Op.48 (Præludium Og Tema Med Variationer Op. 48) for Violin solo dating from 1922-23.The present score is a photographic reproduction of the work as it appears inCarl Nielsen Works - Published by the Carl Nielsen Edition The Royal Library Copenhagen - Instrumental Music Vol. II/10 Chamber Music 1

Solo-Duet-Trio-Quartet with Optional AccompanimentThe Flex-Ability series, arranged by Victor Lopez, fills the need for multi-level instrumentalists to play popular music together. Each instrument book includes 11 songs in four-part score form. The top line (solo) is for level 2 1/2-3. The second line (duet/harmony) is for level 2-2 1/2. The third line (trio/harmony) is for level 1 1/2. The bottom line (harmony or bass line) is for level 1(only whole, half, dotted half, and quarter notes and rests). Contents :Celebration George Melvin Brown (composer); Ronald Bell (composer); Claydes Smith (composer); Robert Mickens (composer); Dennis Thomas (composer); Robert Bell (composer); James Warren J. T. Taylor (composer); Earl Toon (composer); Eumir Deodato (composer)China Grove Tom Johnston (composer)Eye of the Tiger (from Rocky III) Jim Peterik (composer); Frankie Sullivan III (composer)Frosty the Snowman Steve Nelson (composer); Jack Rollins (composer)In the Midnight Hour Steve Cropper (composer); Wilson Pickett (composer)Jeepers Creepers Harry Warren (composer); Johnny Mercer (lyricist)La Bamba Victor Lopez (arranger)Peter Gunn (from Peter Gunn) Henry Mancini (composer)Soul Man Isaac Hayes (composer); David Porter (composer)Sweet Georgia Brown Maceo Pinkard (composer); Ben Bernie (composer); Kenneth Casey (composer)When the Saints Go Marching In Victor Lopez (arranger)

Aria pour mezzo (composé à l'origine pour mezzo-castrato) Extrait du pasticcio Andromeda liberata Format 22,5 x 32 cm, Couverture cartonnée. 20 pages : 1 conducteur clavier (piano), 1 conducteur chant, violon solo. Partition musicale (musical score) : Arrangement pour clavier (piano) Extrait d'Andromeda liberata, l'air Sovvente il sole offre une ligne mélodique magnifique, un dialogue émouvant entre le héros Persée et le violon solo. S'inspirant de la légende grecque d'Andromède, le pasticcio conte le sacrifice d'une princesse d'Ethiopie Andromède, offerte par son peuple au dieu Poséidon, afin d'étancher sa soif de vengeance et qui fut sauvée de justesse par le valeureux Persée. Andromeda Liberata serait un pasticcio, auquel auraient contribué Giovanii Porta, Tomaso Albinoni, et peut-être Niccola Porpora. Le manuscrit, daté de 1726, a été retrouvé en 2002 dans les archives du Conservatorio Benedetto Marcello, à Venise. Seul l'air Sovvente il sole, avec violon obligé, est attribué avec certitude à Antonio Vivaldi. Sovente il sole risplende in cielo, più bello e vago se oscura nube già l'offuscò. E il mar tranquillo quasi senza onda talor si scorge, se ria procella già lo turbò. Souvent le soleil resplendit dans le ciel, plus beau et agréable si un sombre nuage l'a d'abord assombri. Et la mer calme, presque sans vagues, on ne peut l'apercevoir que si une rude tempête l'a d'abord troublée. Cet aria a été enregistré par Philippe Jaroussky et l'ensemble Matheus sur le CD Heros - VIVALDI - opera arias (2006), ainsi que par Nathalie Stutzmann et l'ensemble Orfeo 55, sur le CD Prima dionna (2010).