This authoritative edition presents full-score reproductions of three of Liszt?s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer?s unpublished choral setting of Joseph Autran?s poem ?The Four Elements?, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo?s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: ?He runs, he flies, he falls, and he stands up king!? Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement ?transformation of themes,? an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt?s expanding chromaticism would be no less influential, anticipating the twentieth century?s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.

Par SAINT-SAENS CAMILLE. “In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth, this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London, where itreceived its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of “Camille Saint-Saëns - Complete Edition of the Instrumental Works”. This performing Urtext edition is based on volume BA 10303 from that series. - First scholarly-critical edition of this famous symphony based on “Camille Saint-Saëns – Complete Edition of the Instrumental Works”- Now with separate parts for all winds- Orchestral parts in a large format (25. 5 cm x 32. 5 cm) ; In this work I gave everything I had to give. [… ] What I did here I will never do again. Camille Saint-Saë ns was justifiably proud of his Symphony No. 3 in C minor Op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called ; Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No. 3 marksthe launch of a large-scale project: the publication of Camille Saint-Saë ns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saë ns & Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25. 5 cm x 32. 5 cm) / Niveau : 5 / Répertoire / Orchestre

Mon Concerto pour orchestre (2007) est une oeuvre de vingt minutes dans laquelle les différentes sections de l'orchestre, ainsi que différents solos et duos du sein de l'orchestre, sont mis en évidence que la musique se déploie. Le travail continue mon intérêt pour les formes à deux mouvement qui a commencé avec mon Concerto pour violoncelle (1991), et plus tard a été développé dans Sortilège (1996) et la Symphonie (Broken Consort) (2004). Dans ces oeuvres, et dans le Concerto pour orchestre, chaque mouvement est le même poids et de l'importance avec le second développement de matériel plus tôt et prendre de nouvelles directions.La forme en deux mouvements du Concerto pour orchestre vient d'une structure symphonique sonate, remodeler la forme en quatre mouvements traditionnels et en combinant cela avec les aspects de la forme sonate, une tradition qui remonte à Liszt, Schoenberg et Sibelius:1er mouvement (i) l'exposition d'idées - dramatique et soudaine (ii) scherzo et développement 1 - résolue2ème mouvement (iii) adagio - calme et tranquille (iv) le développement 2 avec récapitulation - intense et énergiqueLe Concerto pour orchestre a été commandée par le Musikalische Akademie des Nationaltheatre-Orchesters Mannheim avec le soutien de Die Landesbank Baden-Württemberg pour ses deux premières représentations le 31 Mars et 1er Avril 2008 réalisée par Friedemann Layer. La partition est dédiée à l'amitié et l'admiration pour Ronald Zollman. / Orchestre

Par MANTOVANI BRUNO. This piece is indeed a tone poem with allusions to Strauss (the orchestral composition Ein Heldenleben), and the theme found in Chamisso's book: Peter Schlemihl's Miraculous Story. The narration is not linear, but rather, metaphorical (in this sense, the model leans more towards Hamlet by Franz Liszt). In fact, the discourse vacillates between luxuriance (symbolising the infinite wealth of Chamisso's hero) and rarefaction, aridity (the growing psychological vacuum of this same hero). Though the language is modern, there are several references in this homage to Strauss (the use of the horns, for example) and above all, a dramaturgy based on contrast. Strauss is a composer who has always obsessed me, in particular for his orchestral hedonism. He greatly influenced Edgar Varèse, who, for me, is a constant reference. It is this composer's sonic opulence, that was, in part, my inspiration for Schlemihl./ Répertoire / Orchestre

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

“In this work I gave everything I had to give. […] What I did here I will never do again”. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven’s Ninth this so-called “Organ Symphony” was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected. The edition of Symphony No.3 marksthe launch of a large-scale project: the publication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series. First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns – Complete Edition of the Instrumental Works Now with separate parts for all winds Orchestral parts in a large format (25.5 cm x 32.5 cm)

Saint-Saëns, Camille Symphony no. 3 in C minor op. 78 - Study score to supplement the full score and performance material on sale - Based on 'Camille Saint-Saëns ' Complete Edition of the Instrumental Works' - Detailed Foreword (Ger/Eng/Fr) 'In this work I gave everything I had to give. ['] What I did here I will never do again'. (Camille Saint-Saëns) Camille Saint-Saëns was justifiably proud of his Symphony No. 3 dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called 'Organ Symphony' was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886. This study score is based on 'Camille Saint-Saëns ' Complete Edition of the Instrumental Works', Volume I/3.

?In this work I gave everything I had to give. [?] What I did here I will never do again?. Camille Saint-Saëns was justifiably proud of his Symphony No.3 in C minor Op.78 dedicated to the memory of Franz Liszt. Like Beethoven?s Ninth this so-called ?Organ Symphony? was commissioned by the Philharmonic Society in London where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No.3 marks the launch of a large-scale project: thepublication of Camille Saint-Saëns - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.First scholarly-critical edition of this famous symphony based on Camille Saint-Saëns Complete Edition of the Instrumental WorksNow with separate parts for all windsOrchestral parts in a large format (25.5 cm x 32.5 cm)