Concerto for oboe in F major

Ces livres solos pour hautbois de 3 volumes qui contiennent plusieurs Concertos importants, devrait aider le jeune hautboïste encore inexpérimentés, à ses études. / Hautbois

Ces livres solos pour hautbois de 3 volumes qui contiennent plusieurs Concertos importants, devrait aider le jeune hautboïste encore inexpérimentés, à ses études. / Hautbois

The two oboe concerts in F major (Op. 37 and 52) are among the most artistically important and intellectually graceful works of Krommer (1759 1831). The proffered Opus 52 is written in the classic three-movement concerto form and builds on the musical diction of Haydn and Mozart. The concerto was revised by Frantisek Suchý who comments on the edition’s relation to its sources in the Editor’s Notes. The detailed Preface is written by Jan Racek. The publication is part of the Musica Antiqua Bohemica series.

Commissioned by Britten Sinfonia and Town Hall Birmingham in 2009-10. Nicholas Daniel gave the premiere with Britten Sinfonia and together they have performed it many times since with a recording on the Harmonia Mundi label.In three contrasting movements this is a major addition to the repertory of concertante Oboe works.

for Oboe and Orchestra-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!

The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre

Written in 1803 by Johann Nepomuk Hummel (1778-1837) this Trumpet Concerto in E-flat Major is a classical piece of the Trumpet repertoire. Composed in the spirit of Mozart and initially for the keyed-Trumpet it was re-discovered in 1958 by a Yale student after 150 years of inertia due to the obsolescence of the instrument for which it was made. This edition offers a transposition in E-flat Major (initially in E Major) adapted to the instruments in use today. The other instruments to be involved in this concerto are a Flute two Oboes two Clarinets two Bassoons two Horns Timpani and Strings. Hummel?s Trumpet Concerto begins with an orchestra onlyfirst movement in a sonata theme which is repeated with the inclusion of the soloist. This Allegro Spirito sounds reminiscent of the Haffner Symphony (No. 35 in D Major) by Mozart but distinguished itself by a second theme. The second movement Andante is more melodic with the trumpet which holds long notes. Finally the Rondo offers a blissful and bright end to the Concerto. Former student of Mozart Johann Nepomuk Hummel (1778-1837) was a brilliant composer pianist conductor and teacher. Evolving at the same period as Beethoveen he became as famous as him and wrote numerous concertos (for Piano Oboe Trumpet Violin and others) operas and some wind music pieces.

Par STRAUSS RICHARD. 'Concerto pour hautbois de 1945, suscité par un soldat américain (hautboïste de Chicago)', notait Strauss. Et, de fait, le 'hautboïste' et soldat d'occupation John de Lancie avait bien demandé au compositeur en mai 1945 s'il n'avait donc jamais pensé à écrire un concerto pour hautbois. La réaction de Strauss fut négative, mais il se mit néanmoins bientôt au travail. Dès octobre 1945, il avait terminé sa partition dans son lieu d'exil suisse, en 1946 eut lieu la création à Zurich. La première édition ne parut à Londres qu'en 1948, sans doute dans une large mesure sans la participation du compositeur. Car aussi bien la partition imprimée que les parties d'orchestre laissentapparaître un grand nombre de fautes. Certaines d'entre elles sont connues depuis longtemps, d'autres ne furent découvertes par Hansjörg Schellenberger qu'en procédant à la comparaison avec le manuscrit autographe de la partition et de la particelle. Le hautboïste de renommée mondiale présente ainsi ce concerto en partition et en réduction de piano pour la première fois en tant qu'édition Urtext de la maison Henle! 'Concerto pour hautbois de 1945, suscité par un soldat américain (hautboïste de Chicago)', notait Strauss. Et, de fait, le 'hautboïste' et soldat d'occupation John de Lancie avait bien demandé au compositeur en mai 1945 s'il n'avait donc jamais pensé à écrire un concerto pour hautbois. La réaction de Strauss fut négative, mais il se mit néanmoins bientôt au travail. Dès octobre 1945, il avait terminé sa partition dans son lieu d'exil suisse, en 1946 eut lieu la création à Zurich. La première édition ne parut à Londres qu'en 1948, sans doute dans une large mesure sans la participation du compositeur. Car aussi bien la partition imprimée que les parties d'orchestre laissentapparaître un grand nombre de fautes. Certaines d'entre elles sont connues depuis longtemps, d'autres ne furent découvertes par Hansjörg Schellenberger qu'en procédant à la comparaison avec le manuscrit autographe de la partition et de la particelle. Le hautboïste de renommée mondiale présente ainsi ce concerto en partition et en réduction de piano pour la première fois en tant qu'édition Urtext de la maison Henle!/ Répertoire / Hautbois et Piano

J. C. Pepusch's Concerto F Major Op.8/I for 2 Treble Recorders 2 Flutes (Oboes Violins) and Basso Continuo (2 Tr-Rec 2 Fl (Ob Vn) & bc).

INTRODUCTION The Four Seasons: Sonnet Texts Bibliography Il Cimento dell'armonia e dell'inventione (The Contest of Harmony and Invention) Twelve Concertos for violin, strings, and continuo (Opus 8) THE FOUR SEASONS (OPUS 8, NOS. 1-4) Concerto No. 1 in E Major: La Primavera (Spring) (Op. 8, No. 1 / RV 269) I. Allegro II. Largo III. Allegro Concerto No. 2 in G Minor: L'Estate (Summer) (Op. 8, No. 2 / RV 315) I. Allegro non molto II. Adagio III. Presto Concerto No. 3 in F Major: L'Autunno (Autumn) (Op. 8, No. 3 / RV 293) I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in F Minor: L'Inverno (Winter) (Op. 8, No. 4 / RV 297) I. Allegro non molto II. Largo III. Allegro OTHER VIOLIN CONCERTOS (OPUS 8, NOS. 5-12) Concerto No. 5 in E-flat Major: La Tempesta di Mare (The Storm at Sea) (Op. 8, No. 5 / RV 253) I. Presto II. Largo III. Presto Concerto No. 6 in C Major: Il Piacere (Pleasure) (Op. 8, No. 6 / RV 180) I. Allegro II. Largo e cantabile III. Allegro Concerto No. 7 in D Minor (Op. 8, No. 7 / RV 242) I. Allegro II. Largo III. Allegro Concerto No. 8 in G Minor (Op. 8, No, 8 / RV 332) I. Allegro II. Largo III. Allegro Concerto No. 9 in D Minor (Op. 8, No. 9 / RV 236) I. Allegro II. Largo III. Allegro Concerto No. 10 in B-flat Major: La Caccia (The Hunt) (Op. 8, No. 10 / RV 362) I. Allegro II. Adagio III. Allegro Conceto No. 11 in D Major (Op. 8, No. 11 / RV 210) I. Allegro II. Largo III. Allegro Concerto No. 12 in C Major (Op. 8, No. 12 / RV 178) I. Allegro II. Largo III. Allegro IMPORTANT VARIANTS How to Use the Variants Concerto No. 7 in D Minor (RV 242) Allegro (Movement I) a. Substitute for Bars 50-76 Concerto No. 9 in D Minor (RV (Version for Oboe, Strings and Continuo, RV 454) Allegro (Movement I) a. Substitute for Bars 91-102 Concerto No. 11 in D Major (RV 210) Allegro (Movement I) a. Substitute for Bars 100-112 b. Substitute for Bars 122-132 Allegro (Movement II) c. Substitute for Bars 38-67 d. Substitute for Bars 113-154 e. Substitute for Bars 171-214 f. Substitute for Bars 171-208 CRITICAL NOTES The Sources The Amsterdam Print The Dresden Manuscripts The Manchester Partbooks The Turin Autograph Scores The Dover Edition Text Fonts Used in The Four Seasons

D major BWV 1054-In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The D-major Concerto BWV 1054 originated as a transcription of Bach’s Violin Concerto in E major BWV 1042. The principal source for our edition is the autograph score of Bach’s harpsichord concertos preserved in the Berlin Staatsbibliothek (Mus. ms. Bach P 234) where BWV 1054 forms the third item. Toaccommodate the upper limit of the harpsichord keyboard Bach decided to transpose the piece down a whole tone which allowed him to retain the frequently occurring peak pitch e3 without altering the melodic line.The D-major Concerto owes its popularity to the clear and straightforward formal design of its movements no less than its overall mood of relaxed merriment. This mood also finds expression in Bach’s choice of the rondo form for the final movement a form otherwise seldom encountered in his concertos.Urtext of the New Bach EditionFull score & parts (BA5226) two-keyboard reduction (BA5226-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The D-major Concerto BWV 1054 originated as a transcription of Bach’s Violin Concerto in E major BWV 1042. The principal source for our edition is the autograph score of Bach’s harpsichord concertos preserved in the Berlin Staatsbibliothek (Mus. ms. Bach P 234) where BWV 1054 forms the third item. Toaccommodate the upper limit of the harpsichord keyboard Bach decided to transpose the piece down a whole tone which allowed him to retain the frequently occurring peak pitch e3 without altering the melodic line.The D-major Concerto owes its popularity to the clear and straightforward formal design of its movements no less than its overall mood of relaxed merriment. This mood also finds expression in Bach’s choice of the rondo form for the final movement a form otherwise seldom encountered in his concertos.Urtext of the New Bach EditionFull score & parts (BA5226) two-keyboard reduction (BA5226-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The D-major Concerto BWV 1054 originated as a transcription of Bach’s Violin Concerto in E major BWV 1042. The principal source for our edition is the autograph score of Bach’s harpsichord concertos preserved in the Berlin Staatsbibliothek (Mus. ms. Bach P 234) where BWV 1054 forms the third item. Toaccommodate the upper limit of the harpsichord keyboard Bach decided to transpose the piece down a whole tone which allowed him to retain the frequently occurring peak pitch e3 without altering the melodic line.The D-major Concerto owes its popularity to the clear and straightforward formal design of its movements no less than its overall mood of relaxed merriment. This mood also finds expression in Bach’s choice of the rondo form for the final movement a form otherwise seldom encountered in his concertos.Urtext of the New Bach EditionFull score & parts (BA5226) two-keyboard reduction (BA5226-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe).The Concerto in F major BWV 1052 is the sixth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). The initials at the end of the piece SDGl ('Soli Deo Gloria') form a pendant to the J.J. ('Jesus Juva') found at theopening of the D-minor Concerto BWV 1052. This indicates that BVW 1057 formed the final piece in this six-work opus the only authentic and self-contained collection of concertos we have from Bach apart from his presentation copy of the Brandenburg Concertos (1721). Like all the other concertos in this series BWV 1057 is an arrangement of an earlier work in this case the Fourth Brandenburg Concerto in G major (BWV 1049).Urtext of the New Bach EditionFull score & parts (BA5229) two-keyboard reduction (BA5229-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale