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Early - Baroque - Classical - Contemporary music |
New editions |
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 Wolfgang Amadeus Mozart
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| According to recent research, the `Jupiter' Symphony is now the most frequently played of all Mozart's works in the concert hall. Here now is the chance to play the work at home in an arrangement for five strings made by Peter Lichetenthal, a close friend of Mozart's son, Karl. Many arrangements were made of this famous piece, but the five-part contrapuntal marvels of the finale are best served by a quintet, as Peter Lichtenthal realized. The present edition is a first publication of this very effective adaptation, taken from the Lichtenthal autograph in Milan Conservatoire. |
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ed. Christopher Hogwood
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| Wolfgang Amadeus Mozart
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| The two most tantalizing losses for classical clarinettists are the autograph scores of Mozart's Concerto and Quintet, both supposedly lent by the composer to his friend Anton Stadler and subsequently lost. All surviving sources for clarinet misrepresent these pieces by adapting the solo part to the smaller range of the modern clarinet (Stadler's instrument had a basset extension to low C). One advantage of transcribing works such as these, therefore, is that the piano can take over the majority of the clarinet part without a restriction on range. The present arrangement was most likely made by an anonymous contemporary of Mozart.
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ed. Christopher Hogwood
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| Wolfgang Amadeus Mozart
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| As with the arrangement of the Clarinet Quintet, in the present adaptation, by Christian Friedrich Gottlieb Schwencke, we can detect possible remnants of the original basset version. This transcription also serves to enhance a side of chamber music that Mozart himself neglected, and offers players an additional piano quintet to add to their repertoire. Equally, it proves a valuable source of new readings and interpretative suggestions for clarinet players performing the 'original' version.
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ed. Christopher Hogwood
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| Nicolas Gilbert
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| Nicolas Gilbert's L’entreprise de séduction for cello and chamber ensemble was written for Matt Haimovitz who gave the first performance with the Ensemble Contemporain de Montréal conducted by Véronique Lacroix in 2007. The composition received the prestigious Opus prize: Création de l'année of the Conseil Québécois de la Musique. |
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Violoncello and Chamber ensemble
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| Nicolas Gilbert
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| Surenchères is a Radio-Canada Commission for the Nouvel Ensemble Moderne conducted by Lorraine Vaillancourt. The work
consists of a series of musical moments that have no prior connection with one another. Their coexistence defies the most basic rules of good taste, blocking certain instinctive auditory responses in the listener, whether he or she is a specialist or not. Through a surplus of information, the listener might well struggle to impose some kind of structure, some sense of coherence, for excess, like lack, can result in a feeling of frustration – it leaves an impression of incompleteness. |
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Chamber orchestra
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| Ming Wang
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| The alternating, sometimes incoherent musical moments that make up this piece seem like the broken fragments of dreams, memories and illusions that occur in the borderland between life and death, emerging abruptly out of the subconscious and disappearing just as quickly as they came. |
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Alto flute, Viola, Violoncello
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| Stephen Pratt
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| Stephen Pratt had long been interested in writing a set of pieces based on misheard titles or lyrics.The idea behind this particular piece was prompted by an inspired howler in a student examination essay, which was (of course) discussing Bartók's orchestral music. The Miraculous Mandolin has a charm all of its own and could be regarded as a short fantasy-ballet around a yet to be determined narrative. |
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Ensemble
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| Tomaso Albinoni
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| This work is a rare example, for this composer, of a Sujetkantate - a term coined by the music historian Eugen Schmitz for a cantata that re-enacts an episode taken from mythology or history. Here, the subject is Ariadne, who awakes to find her lover, Theseus, gone. Rushing to the shore, she sees his departing ship and curses his faithlessness - though not without betraying her continuing love for him. Albinoni rises to the occasion in music of considerable power and eloquence. |
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ed. Michael Talbot
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| Tomaso Albinoni
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| This cantata is on the evergreen subject of unrequited love. Elmindo, whose overtures to Irene are producing no result, masochistically begs her to look at him. His game plan is to weep even more profusely as a result, thereby provoking her into taking pity on him and reciprocating his affections. This is Albinoni at his most wistful and charming, with enough ironic detachment to prevent the emotion from becoming overblown. |
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ed. Michael Talbot
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| Edition HH catalogue in USA
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| We have an agreement with sheetmusicplus.com to sell our editions in the USA. Simply click on the following link. |
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