Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Au printemps 2012, les ' Partitions de pocheBreitkopf ' peuvent surenchérir en sortantles éditions Urtext de deux concertos solo quiont représenté au 19e siècle une contributioncapitale au genre concert instrumental et quise retrouvent aujourd'hui en tête de liste durépertoire. Avec la parution de la petite partitionbleue, la palette des oeuvres en partena-riat avec la maison G. Henle Verlag est ànouveau enrichie : édition pour instrumentsolo et piano chez Henle - conducteur, partiesd'orchestre et partition de poche chez Breitkopf / Piano Et Orchestre

Hawkes Pocket Scores HPS 1468-Originally a ballet score this 30' work is scored with strings and consists of three movements:'cumnock fair': A 12-minute fantasy based on dance melodies by the 18th-century Cumnock composer John French. The moods range widely from playful rustic archaic ungainly dreamy boisterous stately brutal and grotesque to mysterious and unnerving.'shambards'': Memories of Burnsian folksong are interrupted by new dance tunes built on fragments from the Mad Scene from Act 3 of Donizetti’s Lucia di Lammermoor based on the novel by Walter Scott.'shamnation'. Low throbbing in the piano becomes a drumbeat to accompany a fast violin reel using three tunesand following a traditional 8-bar structure. The solo piano part emerges as a counterpoint to the Scottish themes after which the music winds its way through many different keys.

Herbert Howells wrote his First Piano Concerto in 1913 while studying composition at the Royal College Of Music. This was his first orchestral work and was later renumbered as Op.4. Edited and completed by John Rutter. Duration: 39 minutes.

g-moll Op. 33 B. 63-Composed in 1876 Dvorák’s only piano concerto has been overshadowed by his other two concertos for violin and violoncello respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources frees the work from subsequent interventions and presents it to full advantage in its authentic form. The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883 which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert vanSteijn decided instead to present the version by Karel Šolc. - New Urtext edition of Dvorák’s only piano concerto - Foreword by Dvorák scholar David R. Beveridge (Eng/Cz/Ger) - Commentary on performance practice by Czech pianist Ivo Kahánek (Eng/Cz/Ger) - Piano reduction by Karel Šolc adapted to fit this new edition - Full score (BA10420) and two-piano reduction (BA10420-90) available for sale - Performance material (BA10420-72) available for hire

Very few musicians are aware of the fact that Beethoven arranged his Violin concerto also as a Piano Concerto. It is only recently that some pianists have discovered this truly rewarding work.Clementi the London composer and publisher had heard about the première of the Violin concerto and probably sensed its potential. He asked Beethoven for a Piano version which was actually also published in 1808 at thesame time as the original. Several important cadenzas had been especially composed for it; the one for the first movement is accompanied by the Timpani a unique and original touch! Our edition (Piano reduction and study score)contains the text from the recently published volume in the Complete Edition of Beethoven’s Works.

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.5 In E-Flat Op.73.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchasedindividually.The musical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Urtext edition study score of Ludwig van Beethoven's Piano Concerto No.3 In C Minor Op.37.Features:Urtext edition at the cutting edge of scholarshipAn ideal reference edition for pianists students conductors and librariesEach score contains an introduction by Barry Cooper (Ger/Eng)Format 17.5 x 22.5 cmBarenreiter has now published the scores Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s Piano concertos. The study scores can now also be purchasedindividually.The musical text reflects a meticulous examination of every surviving source resulting in Urtext editions at the highest possible level. The study scores are supplemented by introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as forewords by the renowned editor Jonathan Del Mar with descriptions of the sources and the editorial method.

Piano Concerto by Carsten Dahl for Piano and Orchestra (2013). Carsten Dahl is said to have no desire to tie himself to any form or genre and there is literarily no musical expression he hasn’t tried. Carsten Dahl is known for his work as jazz oriented pianist but he is a musician and composer that moves unimpeded from the bebop tradition via completely free improvisation to classical music.