In 1925, at the end of his years at the St Petersburg Conservatory, the 18-year-old Dmitri Shostakovich presented Symphony No.1 in F minor, op.10, as the final work of his studies. This remarkable composition not only showcased his compositional maturity but also unveiled his distinctive tonal language. Such renowned conductors as Bruno Walter, Leopold Stokowski, and Arturo Toscanini were immediately impressed by its quality. The symphony quickly gained recognition, with numerous performances in Europe and the USA securing its place in the symphonic repertoire.
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Performance time - ca. 10:00
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Performance time - ca. 9:00
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HPS 630
Instrumentation: Flute, Clarinet, Bassoon I, Bassoon II, Trumpet in A, Trumpet in C, Trombone I (Tenor), Trombone II (Bass).
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This concerto won the Grawemeyer Award for Music Composition in 1995, the most prestigious music prize in the world. In three movements, it is prime example of Adams as the most compelling contemporary master. The concerto was also choreographed as a ballet by the New York City Ballet.
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Performance time - ca. 7:30
Includes: County Galway, June 1892; The Fighting Donnellys; Joseph and Shannon; Blowing Off Steam; Finale
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In September 1961, Yevgeny Yevtushenko's poem 'Babi Yar' appeared in the Soviet Literaturnaya Gazeta, addressing the mass shooting in 1941 of more than 33,000 Jewish men, women and children on the outskirts of Kyiv by the city's German occupiers. Deeply moved by the poem, Shostakovich took it as the starting point for his Symphony No. 13 for bass, male choir, and orchestra. The work was premiered on 18 December 1962 at the sold-out Great Hall of the Moscow Conservatory, despite resistance and intimidation from the political leadership which sought to avoid such an explicit reference to Jewish suffering. The first performance, which was acclaimed by the audience, was mentioned in Pravda the next day with only a brief single sentence.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in 'The New Collected Works of Dmitri Shostakovich'.
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Performance time - ca. 9:00
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Performance time - ca. 13:00
1. Closing In
2. Reflections
3. Joy Ride
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Total performance time - ca. 23:00
I. The Asteroid Field (4:50)
II. Parade of the Ewoks (4:10)
III. Cantina Band (2:15)
IV. Here They Come (2:15)
V. Luke and Leia (4:45)
VI. The Forest Battle (4:05)
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Contents: Old American Songs (Complete) • Piano Concerto • John Henry • El Salón México• Fanfare for the Common Man.
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Preface -.- Konzert: • I. Allegro moderato • II. Canzonetta. Andante • III. Finale. Allegrio vivacissimo
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Critical Edition. Revision approved by The Ives Society, 2001.
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“City Noir is a symphony inspired by the peculiar ambience and mood of Los Angeles 'noir' films, especially those produced in the late forties and early fifties. My music is an homage not necessarily to the film music of that period but rather to the overall aesthetic of the era. This symphony becomes the third in a triptych of orchestral works that have as their theme the California experience, its landscape and its culture. The two previous are The Dharma at Big Sur and El Dorado. City Noir was commissioned by the Los Angeles Philharmonic in association with the London Symphony Orchestra, Cité de la Musique and ZaterdagMatinee.” -John Adams
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Performance time - ca. 13:30
I. Fawkes the Phoenix (4:05)
II. Dobby the House Elf (3:30)
III. Gilderoy Lockhart (2:00)
IV. The Chamber of Secrets (3:45)
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Contents: The Young Person's Guide to the Orchestra • Matinées Musicales • Soirées Musicales • The Courtly Dances from Gloriana.
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Contents: Les Illuminations • Serenade Op. 31 • Nocturne • Now Sleeps the Crimson Petal.
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Preface • Orchestration • 2 Faksimiles • I. Engelkonzert • II. Grablegung • III. Versuchung des Heiligen Antonius
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“Oboe Concerto 1945, inspired by an American soldier, an oboist from Chicago,” was what Richard Strauss wrote down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile; the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer's involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for a while, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction!
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As if looking back on his youth toward the end of his life, Richard Strauss wrote a second concerto for horn and orchestra, again in E flat major, around sixty years after his first concerto for horn. This sublimely beautiful late work, which gives no indication of the oppressive circumstances of Strauss' poor health and the Second World War, was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss' death that the concerto appeared in print in London, making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor, Hans Pizka, former principal horn of the Bavarian State Opera in Munich, learned first-hand about the performance tradition and genesis of the concertoas a pupil of Gottfried von Freiberg.
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HPS 1208
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Full Orchestral Score
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1991 Corrected Edition.
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