Total performance time - ca. 13:30
I. Lowood (4:30)
II. To Thornfield (3:00)
III. Reunion (5:40)
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Performance time - ca. 7:00
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Performance time - ca. 3:30
Also includes musical quotes from “There's No Business Like Show Business” (words and music by Irving Berlin)
“That's Entertainment” (words by Howard Dietz, music by Arthur Schwartz).
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New engraving.
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HPS 52
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HPS 722
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In his preface to the new critical edition of the 'Seventh Symphony', Dr. Reinhold Kubik (editor and vice-president of the International Gustav Mahler Society) reflects on the reception of Mahler and the discussion between the publisher and Erwin Ratz, the editor of the first critical edition, and sums up the following: “In the meantime, the standard of other complete editions with their comprehensive critical apparatuses has found acceptance in the Mahler edition as well. Times have changed: Mahler now ranks among the most successful composers and has become important for the publishers. Objections have been removed. As a consequence, it was high time to do justice to this work by thoroughly preparing a new edition including a new musical typography and performance material that is consistent with the score. It is hard to believe but checking through the sources again uncovered a host of passages, mistakes even, that are in need of improvement.” The first performance of this edition took place at the Gasteig Philharmonic Hall on 8 March 2007 with the Bavarian Symphony Orchestra under the direction of Mariss Jansons.
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Shostakovich's Symphony No.2 was written in 1927 to fulfil a state commission to mark the tenth anniversary of the October Revolution. The composer opens the compact 20-minute work with a purely instrumental first section followed by a musical setting of Alexander Bezymensky's poem To October, a hymn of praise to Lenin and the revolution. While avant-garde and modernist traits prevail in the first section, the choral finale features a conventional, almost placating tonal language that emphasises the histrionic gestures of the text, so that the composition communicates as a piece of programmatic propaganda. Shostakovich himself was rather dissatisfied with his Symphony No. 2 but it was awarded first prize in a composition competition for the best pieces relating to the revolution's jubilee.
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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After giving in to massive pressure from state authorities in 1960 and finally becoming a member of the Communist Party, Shostakovich fell into a gloomy depression. His 8th String Quartet, composed in the same year, is interpreted as a deeply personal commentary on this. By contrast, his Symphony No.12, which was written around the same time and bears the subtitle “The Year 1917”, seems like a dutiful official statement with its October Revolution subject matter. Remarkable are the work's recourse to the ideals of early communism and the omission of any references to contemporary times. In the West, the symphony was seen as pure propaganda music – but even back then, many listeners will have had an idea of what was hidden behind the shrill, tense jubilation.
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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In June 1905, Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion, thanks to 8 days of dogged work and three sleepless nights.” But the piece itself shows nothing of the haste in which it was written. In fact, it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief, but highly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle's Urtext editions of Ravel's chamber music.
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Total performance time - ca. 11:30
I. Theme from Angela's Ashes (6:20)
II. Angela's Prayer (4:50)
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A symphony in one movement, composed by Jean Sibelius (1865-1957) in 1924. The work lasts approximately 22 minutes.
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HPS 699
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Preface • Vorwort • I. Allegro • II. Romance. Andante • III. Menuetto. Allegretto • Trio • IV. Rondo. Allegro
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Mozart's Piano Concerto in A major is one of his most popular and frequently performed works. The four movements are characterised by contrast: simple and clear, melancholy and insistent, powerful and playful, and a grand finale.
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Revised in 1997 by Chou Wen-chung.
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Against the backdrop of increasingly strict guidelines for the creation of art and music from the beginning of the 1930s, Shostakovich presented with his Symphony No.3 a work that satisfied a number of the required characteristics: alongside the clear, tonal writing and insistent rhythms, the choral finale triumphantly sings of the revolutionary celebration of May Day. The composer spoke in a letter of the “spirit of peaceful reconstruction” which he wanted to express in his new work. Despite its initial success, Shostakovich's Third was categorised as “formalistic” and disappeared from the repertoire for the next 30 years.
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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Shostakovich composed his Symphony No.14 for soprano, bass, string orchestra and percussion during a hospital stay in the spring of 1969. Modest Mussorgsky's Songs and Dances of Death, which Shostakovich had already orchestrated a few years earlier, can clearly be recognised as a source of inspiration. This penultimate symphony is structured as a cycle of eleven settings of texts by different poets (Lorca, Apollinaire, Küchelbecker and Rilke), all of which deal with death. In a speech at the launch of his new symphony, Shostakovich said: “Death awaits each and every one of us. I can see nothing good in our lives ending like this, and that is what I want to convey in this work”. In the score, the texts are underlaid in Russian, German and in the respective original languages.
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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