Performance time - ca. 9:00
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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. 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. 18:00
I. Swashbuckler (The Adventures of Mutt) (3:10)
II. Marion's Theme (3:30)
III. The Crystal Spell (3:50)
IV. A Whirl Through Academe (3:30)
V. Irina's Theme (3:20)
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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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“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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Performance time - ca. 4:30
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New Urtext Edition.
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World-famous pianist András Schiff discusses aspects of performance practice in a detailed preface. The basis for the musical text was Henle's revised edition of Part I published in 1997 and Yo Tomita's brand new revision of Part II (spring 2007). A detailed commentary rounds off the editions. Both parts of the Well-Tempered Clavier are also available as Henle Urtext editions with and without fingerings (HN16 and HN1016).
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Performance time - ca. 5:00
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Every summer the Cathedral of Chicester, in Sussex, England, joins forces with its neighbors, Winchester and Salisbury, to produce a music festival. For its 1965 Festival, Leonard Bernstein was commissioned to write these Psalms.
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Total performance time - ca. 25:00
I. Hedwig's Flight (2:00)
II. Hogwarts Forever (1:40)
III. Voldemort (2:30)
IV. Nimbus 2000 (2:10)
V. Fluffy and His Harp (2:15)
VI. Quidditch (2:15)
VII. Family Portrait (3:00)
VIII. Diagon Alley (3:20)
IX. Harry's Wondrous World (5:15)
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Contains both the corrected and revised edition of 1920 (first publication) and the revised edition of 1947.
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New edition of the full score, composed in 1928.
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Berserkers were special warriors common to the Vikings and the ancient Celtic tribes who would work themselves into a frenzy with mead, mushrooms and hyperventilation to achieve performances of ferocious courage in battle. Although deadly in combat, the berserking process was paradoxically a suicidal one since, having lost their senses, they were vulnerable to a more stealthy attack. The initial burst of inspiration for this work came in 1989 after watching a soccer game in which Celtic Glasgow turned in a characteristically passionate, frenzied but ultimately futile display against Partizan Belgrade. But whatever the genesis of the piece, it is essentially abstract. The relationship between soloist and orchestra changes from section to section. In the opening fast music they are in argument and opposition most of the time, each striving to dominate. In the slow middle section the piano is very much to the fore and in the final quick section they become equal partners.
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Preface • Orchestration • 2 Faksimiles • I. Engelkonzert • II. Grablegung • III. Versuchung des Heiligen Antonius
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Symphonic Variation “Merry-Go-Round + Cave of Mind”
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The fateful Pravda article 'Muddle Instead of Music' appeared in January 1936, in which Shostakovich was directly attacked for his opera Lady Macbeth of Mtsensk, at which point the composer had completed about half of his Symphony No. 4. Although the new score already demonstrated the particularly criticised characteristics such as intellectualism, remoteness from the people, incomprehensibility and the like, Shostakovich continued to write his Fourth undeterred. However, a few days before the planned premiere in December 1936, Shostakovich decided to withdraw the new work and thus narrowly avoided an official ban. It was not until 1961 that Symphony No. 4 was finally premiered in Moscow under the direction of Kirill Kondrashin.
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 newlycomputer 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 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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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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Performance time - ca. 7:30
Includes: County Galway, June 1892; The Fighting Donnellys; Joseph and Shannon; Blowing Off Steam; Finale
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HPS 606
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Contents: Pulcinella Suite (revised 1949 version) • Apollon Musagète (revised 1947 version) • Le Baiser de la Fée (revised 1950 version).
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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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