Par VAN BEVEREN ACHIEL. Belgian composer Achiel Van Beveren (1904 - 1985) originally composed this Elegie in 1953 as a vocalise for bass voice and piano (also violin and piano) and it was dedicated to Leopold Loomans, one of his students. Achiel's son, Alex Van Beveren, a professional oboe and English horn player later adapted this work for English horn and piano. This publication includes the solo part as playable on English horn, as well as the original vocalise part. Belgian composer Achiel Van Beveren (1904 - 1985) originally composed this Elegie in 1953 as a vocalise for bass voice and piano (also violin and piano) and it was dedicated to Leopold Loomans, one of his students. Achiel's son, Alex Van Beveren, a professional oboe and English horn player later adapted this work for English horn and piano. This publication includes the solo part as playable on English horn, as well as the original vocalise part./ Répertoire / Cor Anglais et Piano

for Oboe and Saxophone-Long established as one of the centerpieces of study repertoire for both the oboe and saxophone. In addition to the 48 famous Ferling studies it includes 3 Duos Concertants for two instruments and Trio for two oboes and english horn by Beethoven.

Arrangeur: Shelley Collins. Par BEETHOVEN LUDWIG VAN. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes. Ludwig van Beethoven's Variations on 'La ci darem la mano' from Wolfgang Amadeus Mozart's Don Giovanni was originally composed in 1795 for two oboes and English horn. Shelley Collins has made it possible to perform this delightful arrangement in a variety of combinations of flutes: Two C Flutes and Alto Flute, Two Alto Flutes (in G) and Bass Flute, or Three Similar Flutes./ Répertoire / 3 Flûtes Traversières

2 Oboes and English Horn. Par BEETHOVEN LUDWIG VAN. / Répertoire / Trio à vent

Arrangeur: Judy Nishimura. A musical celebration for the holidays, with a mix of Yuletide music and secular dances. Score for three oboes and English Horn/ Recueil / 3 Hautbois et Cor Anglais

Both of these works for two oboes and cor anglais which Beethoven composed in the 1790s belong to the lighter genre of serenades and divertimentos. He might have written them in response to a commission or have been inspired bythe prevailing popularity of this delicate combination of instruments.Likewise with the Variations WoO 28 on the famous theme 'La ci darem la mano' by Mozart he made a contribution of his own to the arrangements ofoperatic melodies for wind ensembles that were so popular at the time.This Urtext edition follows the recently published volume in the Beethoven Complete Edition and thus reflects the latest scholarly research onBeethoven.

Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 inits original version for English Horn Violin and Cello the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) Violin and Cello Op.110a (AL 30 751)

Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 atone of the Scarab Club Concerts in Detroit the Lyric Interlude for English Horn Violin and Cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) and Piano Op.110b (AL 30 750)

Par HAYDN FRANZ JOSEF. The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended. In its original orchestration for two oboes or English horn, strings and organ. At a later performance of this work, probably in 1803, Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision, Sigismund Neukomm enlarged the wind orchestration by adding a flute, two clarinets, two bassoons, two French horns, trumpets and timpani. Haydn's Stabat Mater in both its original scoring as well as Neukomm's scoring./ Répertoire / Solistes (SATB), Choeur Mixte (SATB) et Orchestre

Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However

Five Paraphrases on the opera Kafka's Trial.For Large Ensemble:1 Flute dbl Alto Flute in G and Piccolo1 Oboe dbl English Horn in F1 Clarinet in Bb dbl Bass Clarinet in Bb1 Bassoon1 Horn in F1 Trumpet in Bb1 Trombone1 Percussion (one player)Tambourine Police Whistle Bass Drum Castanets Tubular Bells Tamtam Glockenspiel Triangle Guiro Mark Tree Xylophone Spoons Crotales Snare Drum Hi-hat Kick Drum Siren (hand-cranked) Ratchet Lion's Roar.1 Piano1 Violin 11 Violin 21 Viola1 Cello1 Double Bass (with extension)

Stabat Mater Hob.XX bisOratorio (funeral music) versions from 1767 and 1803The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended in its original orchestration for two oboes or English horn strings and organ.At a later performance of this work probably in 1803 Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision SigismundNeukomm enlarged the wind orchestration by adding a flute two clarinets two bassoons two French horns trumpets and timpani.Urtext from the Haydn Complete EditionHaydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring.Full score performance material (BA4642) vocal score (BA4642-90) available for sale