D'une durée de plus de quarante minutes et composée en 1858-59 pour une grande formation comprenant cors, trompettes et timbales, la Sérénade en Ré majeur de Johannes Brahms caresse le genre de la symphonie. Pourtant l'opus 11 de ce compositeur alors en plein essor avait tout d'abord commencé par quatre mouvements pour 'petit orchestre', avant de prendre la forme de la 'Sinfonie-Serenade' que nous connaissons aujourd'hui. Notre Studien-Edition offre non seulement la partition critique de l'édition complète des oeuvres de Brahms, mais également une préface détaillée, dans laquelle l'éditeur Michael Musgrave commente la genèse compliquée de cette première grande oeuvre pour orchestre de Johannes Brahms. / Piano 4 Mains

Par BRAHMS JOHANNES. This volume reproduces, complete and unabridged, the scores of all four symphonies of Johannes Brahms, from the Vienna Gesellschaft der Musikfreunde edition./ Répertoire / Orchestre

To Brahms Beethoven's legacy was a heavy burden: 'I will never compose a symphony! You have no idea what spirits come over someone in my position when he always hears such a giant (Beethoven) marching behind him.' Fortunately his statement never came true. Brahms's four symphonies are among the highlights of orchestral music and now available as package at an attractive price.

L?histoire de la genèse de la 4e Symphonie remonte probablement aux années 1870, alors que Brahms travaillait sur la cantate de Bach «Nach dir, Herr, verlanget mich», dont le thème de la chaconne préfigure la cellule du final.

Autour du 29 août 1885, Brahms écrivit à Hans von Bülow depuis Mürzzuschlag dans le Steiermark: «J?ai là quelques entr?actes ? ce que l?on a coutume de réunir sous le nom de symphonie. [?] Je crains [?] qu?elle a le goût du climat local ? ici les cerises ne mûrissent pas.» Aucune trace de cerises «amères» dans cette symphonie. L?oeuvre est aujourd?hui un des sommets de la symphonie classique-romantique.

Notre Studien-Edition tout à fait maniable et à un prix abordable se base sur le texte de l?édition complète des oeuvres de Johannes Brahms (HN 6015). / [Symphonie n° 4 en mi mineur op. 98] / Classique / Partition de poche / Cartonné / Plats de carton /

Il est incertain si le thème de la chorale de 'Variations Haydn' est en fait de Haydn. Il est certain, cependant, que les Variations sont caractéristique du style orchestral mature de Brahms et son sens strict de la forme. Avec ' Ouverture académique ', le compositeur / Orchestre

De tous ses symphonies, cette première symphonie prend Brahms les plus longues à écrire. Il s'agissait d'une part, en raison de la méthode de travail méticuleux et extrêmement autocritique du compositeur et d'autre part, en raison de l'exemple écrasante de Beethoven, qui / Orchestre

Blending attractive themes quiet and subtle melodic beauties and delicate lyricism Brahms' Third Symphony offers a warmth and serenity that have made it a favorite of audiences and performers alike. This affordable and convenient volume represents a remarkable value.Republication of the authoritative Vienna Gesellschaft der Musikfreunde edition.

Description Brahms wrote only two concerti in his lifetime, each one an important staple of the concert repertoire. These masterpieces are featured here in full score in one convenient, affordable volume. Pianists, conductors, music students, and scholars will find this edition ideal for study and performance purposes.

Out of all his symphonies Symphony No.1 symphony took Brahms the longest to write. This was on the one hand due to the composer's meticulous and extremely self-critical working method and on the other hand due to Beethoven's overwhelming example which held him back. 14 years passed until this serious and complex work was completed. But it was worth the effort: none of his other works contain such a multitude of musical ideas.

E-moll Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 1 contains:-Playing Tag (Richard Ling); Eastern March (Richard Ling); Autumn from Four Seasons (Vivaldi); Entertainer (Joplin); St.Anthony Chorale (Brahms/Haydn); Jazz Train (Richard Ling); Caribbean Carnival (Richard Ling); Hark the herald angels sing.

This is the full score for Carl Nielsen's Symphony No. 4 The Inextinguishable the composer's most popular and most frequently recorded and performed work. Although Carl Nielsen's Symphony No. 4 was completed in 1916 and although it prominently features a thundering duel between timpani the composer did not write this work in response to World War I. Instead it is a noisy energetic thrusting paean to the inextinguishability of life itself. And as music like life in this instance is inextinguishable the four intricately interlinked movements are played without a break. In this work can be heardthe influences of Brahms Dvorak Sibelius and others all transformed by Nielsen's creative spirit. The symphony ends in grand Romantic style with a triumphant finale wherein the jagged two-note and three-note themes of the beginning are conquered by the songlike theme of the third movement. CN00013A is the parts to accompany this full score.