August 2023

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Amphitryon (full opera score with French libretto and appendix)

Opera in 3 acts

André Ernest Modeste Grétry was born on February 8, 1741 in Liège, Belgium. He learned keyboard and composition during his childhood under the tutelage of Jean-Pantaléon Leclerc, Nicolas Rennekin, and Henri Moreau. He saw various Italian operas in his youth, leading to his decision to pursue composition as an adult, studying under Giovanni Battista Casali. During and following his training in composition, he met, worked with, and befriended many other composers and celebrities, most notably including François-Marie Arouet, better known as Voltaire.

Amphitryon is an opera written by Jean-Baptiste Poquelin, better known by his stage name Molière, with the music composed by Grétry. The opera’s premiere was at the Théâtre du Palais-Royal in Paris on January 13, 1668. The opera calls for a total of 14 roles: Jupiter, Mercury, Amphitryon, Argatiphontidas, Cleanthis, Naucrates, Polidas, Posicles, Sosie, Blepharo, Alcmena, Bromia, Thessala, and an unspecified actor role utilized for extra roles. This is considered higher than the typical number of roles in an opera, which usually ranges from 7–10. The story of Amphitryon is based on the Roman version of a Greek myth, written by Titus Maccius Plautus. The opera is scored for flute, oboe, clarinet, horn, trumpet, violins, viola, cello, contrabass, piano, timpani, and a vocal ensemble. There are a total of 3 acts and a prologue, with differing acts of the opera consisting of slightly different instrumentation for reasons unknown. …


Le Buisson ardent (The Burning Bush), Poème symphonique op. 203 & 171

(1945 & 1938)

I Prèsque adagio, lourd, douloureux (p. 3) – Allegro, non troppo (p. 8) – Andante moderato (p. 10) – Mouvement de l’Allegro (p. 11) – Très animé (p. 44) – Allegro moderato (p. 45) – Animé (p. 49) – Un peu plus large (p. 59)
II Molto moderato (p. 69) – Très calme (p. 70) – Très tranquille (p. 86) – Laissez le mouvement s’animer (p. 89) – Double plus lent (p. 91) – Fugue. Allegro vivo (p. 107) – Très calme (p. 138) – Plus large (p. 149) – Très doux, extrèmement calme (p. 154) – Très tranquille (p. 155)

“The life of the artist who thinks about beauty above all else is enviable. It allows to move towards an ideal. Such a life gives freedom. This freedom is: ‘to be entirely yourself,’ to write in your ivory tower, which can become a beacon for the world.” (Charles Koechlin)

They all thought highly of him, whether Debussy, Dukas, Roussel, Ravel, Migot, Milhaud, Honegger, Rivier or Poulenc. Darius Milhaud, for example, who was 25 years younger and by no means backward-looking, wrote that he had “the impression of dealing with the music of a magician who might belong to the generation after me.” But attempts to popularize Koechlin’s works did not meet with resounding success. Charles Louis Eugène Koechlin (pronounced Kéklin) was born the seventh child of a wealthy, educated Alsatian family. He wanted to become an astronomer – echoes of this inclination may be the many evocative night pieces and moods in his works. At the age of fifteen he began to compose, and in 1890 he finally decided on the musical path. But both strands of talent – the free artist and the systematic researcher – continued to coexist, becoming increasingly indissolubly intertwined throughout his long life. …

Chor/Stimme & Orchester

Liebeslieder Op.10 for a high voice and chamber orchestra

Wilhelm Grosz was an Austrian composer, arranger, conductor, musical director, musicologist, and pianist born in Vienna on August 11, 1894. Grosz grew up in the early twentieth-century Austrian musical landscape, which witnessed the rise of atonality with the works of composers such as Arnold Schoenberg, Anton Webern, and Alban Berg. Because of this, he is credited as one of the first Austrian composers to compose jazz-inspired classical compositions. His musical education was extensive, as he received his PhD in musicology at the Vienna University in 1920, and won the Zusner Prize in 1917.

At the time of composing Liebeslieder in 1922, Grosz was partaking in a music festival in Salzburg with esteemed film composer Erich Korngold, who was also his childhood friend. Liebeslieder is a good example of Grosz’s abilities as a musicologist because it showcases love songs from non-Austrian cultures. The five poems upon which the movements are based are from Serbia, Russia, Magyar, Tunis (capital of Tunisia), and Russia again, respectively. Grosz loved these types of multiple movement works as shown in his Tanzsuite, op. 20, no. 2, where he explores a number of dances from all over the world. …

Solo Orgel

Organ Works Vol. 3: Chiese di Roma (‘Churches of Rome’ / first print)


1 – Santa Cecilia – alla memoria d’una santa decapitata
2 – San Clemente – livelli della fede
3 – San Ignazio – l’illusione della prospettiva
4 – La Chiesa di Quattro Coronati – l’oratorio di San Silvestro

First performance: Mariakirken, Bergen, June 19th. 2019 / Karstein Askeland

Ketil Hvoslef was born in Bergen on July 19th 1939. He is the youngest son of Harald Sæverud and Marie Hvoslef. He arrived at a propitious time, since his birth coincided with the completion of Siljustøl, the great mansion in the outskirts of Bergen where the Sæverud family settled and where his father lived until his passing in 1992. It also proved to be a haven during the Nazi invasion of Norway in the Second World War.

Being the son of a great composer, music was naturally very present during his upbringing. He learned to play the piano and the viola and, in his teens, he became heavily involved in Bergen’s jazz and pop music environment, becoming a member of what was, reportedly, Bergen’s first rock band. Hvoslef (who retained the Sæverud surname until his 40th birthday, when he decided to adopt that of his mother) had, however, plans to become a painter and took serious steps in that direction. It was in the Bergen Art Academy that he met the painter Inger Bergitte Flatebø (1938 – 2008), who would become his wife and adopt the Sæverud surname.

With the birth of their first child, Trond, in 1962, Hvoslef realized that he needed to provide for his family and, abandoning his dreams to become either a pop star or a painter he took an organist’s diploma at the Bergen Music Conservatoire. Upon finishing his studies, he was offered a position as theory teacher at the Conservatoire by its director, the legendary Gunnar Sævig (1924 – 1969) …

Partituren in Vorbereitung im August 2023

150 years of sleeping beauty and a miraculous resurrection from the ashes:

Franz Schubert’s Sinfonia in E (D 729) from 1821

Publication planned by the end of 2023

Repertoire Explorer/Munich will publish the first printing of Franz Schubert’s Symphony in E (D 729) towards the end of 2023; in the concert version of 1883 prepared by John Francis Barnett (*16 October 1837 / † 24 November 1916). (In Anglo-Saxon countries it is often referred to as Symphony No. 7).

The fate of this symphonic fragment is a small novel: Felix Mendelssohn Bartholdy, who received the autograph as a gift from Ferdinand Schubert in 1846, was immediately enthusiastic and is even said to have flirted with completing it. Unfortunately, however, this did not come to pass, for Mendelssohn died unexpectedly a year later. Felix’s brother, Paul Mendelssohn, then gave this score to the English music scholar George Grove in 1861. At Grove’s request, John Fr. Barnett created his performance version. The fact that there was no longer a score of the realisation of this fragment – also admired by Johannes Brahms – had many tragic reasons that had to be accepted with resignation.

After it was successfully presented to the public by August Manns and his orchestra at the Crystal Palace on 5 May 1883, the piano version that he had written afterwards appeared as early as 1885. Two late performances in Cleveland/Ohio (1928) by Nikolai Sokoloff are still documented. Then, in 1936, one of the orchestral materials burned in the Crystal Palace fire in London, and in World War II, the other material burned in Leipzig. The fact that only a piano version of the Barnett version exists was resignedly acknowledged. But in Cleveland/Ohio, surprisingly, the complete orchestral material from 1928 was recently found. The original Barnett score will probably also have burned, but it was now possible – albeit with some difficulty – to reconstruct the Barnett orchestral version from the parts. So now, for the first time, there is a printed score with new orchestral parts.

The pioneering work of John Francis Barnett now, after almost 150 years, finally fairly appreciated.

Kanz Joseph, Ebersberg / Obb., im Juli 2023

Schnabel, Artur
Symphony No. 1

Moszkowski, Moritz

Pierné, Gabriel
Ramuntcho 1 + 2

Mackenzie, Alexander Campbell
The Story of Sayid, dramatic cantata

Fairchild, Blair
Légende Op.31

Busoni, Ferrucio
Die Brautwahl

Elgar, Edward
Scenes from the Saga of King Olaf

Skalkottas, Nikos
First Symphonic Suite in Six Movements

Delibes, Léo

Pijper, Willem
Zes Symphonische Epigrammen

Rubinstein, Anton
Cellokonzert Nr.2 Op.96

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