Performance time - ca. 7:00
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This three-movement work was premiered in 1996 by the Cleveland Orchestra, with Emmanuel Ax as soloist. 28-30 minutes. In the composer's words: “The concerto takes a kind of polymorphous-perverse pleasure in the whole past century of piano music, both popular and classical.” The original inspiration was in the old piano roll music of the 1920s.
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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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The Sextet in B-flat major was already judged to be “one of the most beautiful works by this young composer” after its initial performances in early 1861. It was popular with both public and press, and has retained this status to the present day. The publisher Simrock was so impressed by it that he accepted Brahms's suggestion that he should publish a score of it alongside the individual parts - something that was by no means usual at the time. The numerous differences between these two first editions of 1861 continue to present problems to Brahms researchers today. Brahms specialist Katrin Eich has already taken on the task of editing the work for the Brahms Complete Edition, and this new Urtext edition provides the best possible musical text for performance. Naturally, it is available in both score and parts.
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Bach's death meant that the Art of Fugue was left unfinished. In his father's manuscript, Carl Philipp Emanuel noted exactly where the last fugue of the Art of Fugue broke off: “While working on this fugue, in which the name BACH appears in the countersubject, the author died.” Our editor Davitt Moroney brings the fugue to a close with 30 supplementary measures.
There has been frequent speculation about what type of scoring would be most appropriate for the piece, particularly since Bach wrote the individual parts in score form and left no information about instrumentation. Certainly, strict fugues can be found in any ensemble scoring; this had been normal for centuries. It is remarkable, though, how the cycle can easily be played on the harpsichord or piano – a strong argument for keyboard performance.
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Total performance time - ca. 15:30
I. Theme from J.F.K (4:45)
II. Motorcade (3:55)
III. Arlington (6:25)
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Performance time - ca. 2:30
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Performance time - ca. 4:00
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Performance time - ca. 4:00
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Performance time - ca. 3:50
Arranged for Itzhak Perlman.
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Nine works originally composed for film, TV drama and ads. Arrangements to concert versions were prepared by the composer.
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Rossini was a master of the opera overture. This volume offers six of his best-known overtures, from the operas La scala di seta, Il Signor Bruschino, L'italiana in Algeri, Il barbiere di Siviglia, La gazza ladra and Guillaume Tell (the “Lone Ranger” theme).
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Joint publishing venture with Editio Musica Budapest.
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Ludwig van Beethoven composed his first-ever mass setting in 1807, to a commission from Prince Nikolaus II Esterházy: the Mass op. 86 for soloists, chorus and orchestra. The occasion was the celebration of the name day of the Prince's wife. In the temporal proximity of such famous works as the Fourth Piano Concerto, the Violin Concerto, and the Fourth and Fifth Symphonies, he here created a work of an entirely different nature. He informed his publisher that he believed he had treated the text of the Mass “like it has seldom been treated.” This study score reproduces the full musical text of the Beethoven Complete Edition. The sources consulted for this edition are presented in detail in the preface and the critical report.
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The Grande Polonaise-for piano and orchestra is brilliant, showy and spectacular. The central section is in the character of a nocturne, Andante spinato, and creates a subtle mood that is destroyed by the stormy rhythms of the polonaise. This work is often performed without the in the solo piano version, published in 00132263.
The National Edition of the Works of Fryderyk Chopin
Published by PWM
Exclusively Distributed by Hal Leonard Corporation
Co-Editors
Jan Ekier and Pawel Kaminski
The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analyzed with up-to-date scientific and musicological methodology.
The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort.
The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume.
The Performance Commentary appended to each volume includes: the realization of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the “harmonic legato” (a performance technique often used by Chopin and now forgotten).
About the National Edition
Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin
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Performance time - ca. 4:00
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Performance time - ca. 5:15
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Performance time - ca. 5:15
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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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This concerto is dedicated to Dennis Russell Davies and Paul Zukofzky, who presented the first performance. The orchestral accompaniment consists of two flutes (one doubling as piccolo), two oboes, E-flat clarinet, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbal, woodblock) harp, and strings. Presented here in full score.
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HPS 699
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HPS 722
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