Composed in 2021 and dedicated to the soloist Nicola Benedetti, this work was written as a memorial tribute to the Polish composer Krzysztof Penderecki, who died the previous year and was a major musical influence on the composer, particularly during his formative creative years. MacMillan writes, “One of the co-commissioners for Violin Concerto no 2 was Polish and I was keen that there be some acknowledgment of the late Penderecki in some way in the new work. I was happy to oblige with a dedication to a composer I have greatly admired from an early age.” He describes creating a new work for Nicola Benedetti: “I've worked with Nicola on her recording of the Mendelssohn concerto and on tour with her on the Mozart G Major concerto, and have absorbed a lot from these experiences. I composed From Ayrshire for her some years ago which is a short piece that can be performed with either piano or small orchestral accompaniment. I also wrote a short work for her and some singers of The Sixteen for the very first Cumnock Tryst festival in 2014. All this has been important in the way I have built my relationship with Nicola, and in my approach for this concerto.” Adopting a more compact format than MacMillan's first violin concerto from 2009, the second employs a medium-sized orchestra and plays continuously in a single through-composed movement of 25 minutes' duration.
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Preface • Vorwort • I. Allegro • II. Romance. Andante • III. Menuetto. Allegretto • Trio • IV. Rondo. Allegro
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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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Dvorák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighborhood violin lessons, he wrote these four little movements for two violins with viola accompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play, though with its flowing melodies and spirited rhythms it still offers the best of Dvorák. It is not surprising that his publisher Fritz Simrock immediately snatched them up when Dvorák told him in 1887 that he was working on little bagatelles. The autograph of the score that contained many corrections nevertheless makes evident just how much hard work went into these little bagatelles. It also served as the engravers copy for the first edition. Both these sources were consulted for this Urtext edition that offers today's players an authentic text of this musical jewel.
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Introduction in English, German and French
The quartet in A minor is one of the chamber music works with which Schubert wanted to “pave the way to the great symphony” in spring 1824. At the same time he was paving his way to a wider audience, as the “Rosamunde” quartet was the first and only string quartet that was not only publicly performed in Schubert's lifetime but also published in parts. It is fortunate for us that this was the case because the autograph of this much-loved quartet is missing today and the only source for the work is the first edition. And this is precisely where the challenge lies, as the parts exhibit some inaccuracies regarding the articulation and dynamics. They have had to be carefully resolved, something which our new Urtext edition has done in an exemplary fashion. Its name can be traced back to Schubert's incidental music to the play Rosamunde, which can be heard at the beginning of the Andante. Quite a few people might, however, be reminded of the Impromptu in B flat major op. post. 142 no. 3, in which Schubert later once again took up the beautiful melody.
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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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Total performance time - ca. 13:30
I. Lowood (4:30)
II. To Thornfield (3:00)
III. Reunion (5:40)
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First performed in November 1954 by the Warsaw Philharmonic Orchestra conducted by Witold Rowicki. Duration c.29mins. Orchestral material available for hire from Chester Music.
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New engraving.
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Commissioned by the Chicago Symphony Orchestra Association and co-commissioned by Radio France and Norddeutscher Rundfunk, this work was composed in 2020. It was first performed the following year at Symphony Center, Chicago, by the Chicago Symphony Orchestra, conducted by Hannu Lintu. The Chicago Classical Review commented, “There is a lurking elemental power in this turbulent work, echoing Lindberg's compatriot Jean Sibelius, but transmuted through a 21st-century lens. Cast in a single movement of 15 minutes, the music also fitfully evokes the middle movements of Mahler's Seventh Symphony in its sense of nocturnal unease.” The Times added, “With a shimmer of strings, ominous brass and the moth-wing flurries of woodwinds, Serenades drew us into the depths of the night ... the chameleon Finnish composer has written a visceral, turbulent nightscape.”
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Preface • I. Toccata • II. Aria I • III. Aria II • IV. Capriccio
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Preface • I. Allegro vivace • II. Andante con moto • III. Con moto moderato • IV. Saltarello, Presto
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Preface • I. Andante non troppo-Allegro moderato • II. Walzer. Moderato. Tempo di Valse • III. Elegie. Larghetto elegiaco • IV. Finale (Tema Russo) Andante-Allegro con spirito
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Content text: Preface
Vorwort
I. Andante comodo
II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
III. Rondo-Burleske. Allegro assai. Sehr trotzig
IV. Adagio. Sehr langsam und noch zurückhaltend
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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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The premiere of this work in December 1813 ranks among the greatest successes Beethoven ever celebrated in public as a composer. One reviewer wrote at the time that in its themes the new symphony was “so favourable and easily comprehensible that every music lover falls for the powerful allure of its beauty.” The incisiveness of the themes is fundamentally related to the basic ostinato rhythms, which help shape each movements distinctive character. Richard Wagner even called the composition, with its ecstatic finale, an “apotheosis of the dance.” Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.
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Performance time - ca. 8:15
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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. 2:30
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Performance time - ca. 5:15
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