Concerto : for piano and orchestra, opus 20 (Klavierauszug)

New findings in Beethoven?s first piano concerto'
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The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.'
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In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.'
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This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. '
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- Urtext edition reflecting the latest musicological research'
- Includes Beethoven?s cadenzas '
- Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre n°1 Do majeur Opus 15] / Classique / Partition / Agrafé /

Par WEBER CARL MARIA VON. Pour deux raisons, Weber avait hésité à présenter au public son opus 79, connu en tant que «Konzertstück». Comme il l’écrit au journaliste musical Friedrich Rochlitz, l’expérience montre que les concertos en tonalité mineure sont moins bien acceptés par le public. De plus, il craignait d’être pris pour un «charlatan musical», car tout en composant il lui était venu des visions d’une histoire d’amour dramatique du temps des croisades, lesquelles marquaient de leur empreinte le caractère de l’oeuvre. Ces préoccupations sont toutefois sans fondement- le «Konzertstück» virtuose conquiert les salles de concert du monde entier. Il est désormais disponible en édition Urtext. Le célèbrepianiste Marc-André Hamelin a élaboré le doigté. ?/ Répertoire / 2 Pianos à 4 Mains

Dmitri Shostakovich's Piano Concerto No. 2 Opus 102 is presented here in miniature score format as part of the highly respected Boosey & Hawkes catalogue.

Par BRUCH MAX. Aside from his popular Violin Concerto no. 1, “ Kol Nidrei ” numbers among Max Bruch ’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “ Kol Nidrei ” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “ Kol Nidrei ” appears for the first time in an Urtextedition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part. / Oppermann, Annette / Répertoire / Violoncelle et Piano

Although the sources to Beethoven's piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic sources. Previous publications tended to rely on earlier editions, such as the old Beethoven Complete Edition which in turn also did not take exclusively authentic sources into account.'
Jonathan Del Mar's scholarly-critical edition corrects misreadings of Beethoven's autograph which were already present in the first edition and had subsequently been incorporated into other editions of this work.'
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''First Urtext edition based on the authentic sources'
''Numerous corrections in the orchestral parts'
''Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre N°2 Si bémol Majeur Opus 19 (Réduction Piano Parties séparées)] / Classique / Partition / Agrafé /

[Konzert für Klavier und Orchester Nr. 4 G-Dur Opus 58] / Classique / Editeur : Hans-Werner Küthen / Réduction piano : H / Partition / Broché /

[Konzert für Klavier und Orchester Nr. 3 c-moll Opus 37] / Classique / Editeur : Hans-Werner Küthen / Réduction piano : H / Partition / Broché /

Composé en 1853 et dédié à Johannes Brahms, l''Introduction et Allegro de concert' vient compléter nos éditions des compositions de Schumann pour piano et orchestre - le célèbre Concerto pour piano en la mineur (HN 660) et le merveilleux Konzertstück op. 92 (HN 1141) étant déjà disponibles dans nos éditions Urtext de qualité. Tout comme dans le Konzertstück op. 92, la conception formelle de l'opus 134 est nouvelle et surprenante: Schumann condense la forme classique du concerto de soliste en trois mouvements en un seul et unique mouvement, parvenant ainsi à un dialogue d'une densité et d'une atmosphère toutes particulières entre le piano et l'orchestre. / Piano Et 2 Pianos 4 Mains

For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano

Par LHOYER ANTOINE DE. Antoine de Lhoyer 1768-1852 Collection pour la guitare proposée par le duo Spinosi La vie d'Antoine de Lhoyer est un véritable roman dont la guitare reste le personnage central. Ce compositeur, guitariste, Chevalier de Saint-Louis et de Saint-Jean de Jérusalem, Garde de la Manche du Roi, nous a légué des chefs-d'?uvre longtemps restés dans l'obscurité des bibliothèques. La présente édition s'attache à vous en livrer les plus belles pages. La première édition connue de ce concerto fut publiée par Böhme, à Hambourg, en 1802. Il peut sembler curieux qu'une ?uvre aussi enthousiasmante soit restée si longtemps ignorée des guitaristes et du public alors que son existence était parfaitement connue. Ce concerto fut recréé en 2001 à Brest avec l'Ensemble Matheus (dirigé par Jean-Christophe Spinosi). Après l'avoir joué de très nombreuses fois en France et en Espagne, puis enregistré, j'invite tous les guitaristes à partager mon enthousiasme, ma joie et ma passion pour cette ?uvre superbe. Voici LE concerto que tout guitariste devrait désormais avoir à son répertoire ! - Philippe Spinosi Conducteur et parties séparée de guitare, 4 violon I, 4 violon II, 2 alto, 3 basse. Révisions, cadences et reconstitution du IIe mouvement par Philippe Spinosi. Le Concerto opus 16 et des duos pour guitares d'Antoine de Lhoyer ont été enregistrés en février 2004 par Philippe Spinosi et l'Ensemble Matheus sous la direction de Jean-Christophe Spinosi. Disque paru chez Naïve : www.naiveclassique.com Le Concerto pour guitare existe également pour guitare et piano : Concerto pour guitare opus 16 et pour orchestre en conducteur de poche. / Date parution : 2003-05-01/ Répertoire / Guitare

[Konzert für Klavier und Orchester Nr. 2 B-Dur Opus 19] / Classique / Editeur : Hans-Werner Küthen / Réduction piano : H / Partition / Broché /

[Konzert für Klavier und Orchester Nr. 1 C-Dur Opus 15] / Classique / Editeur : Hans-Werner Küthen / Partition de poche / Broché / Edition Urtext