Nicolas Mori’s arrangement of Beethoven’s 7th Symphony was published in the 1820s by Elizabeth Lavenu, widow of the London violinist and publisher Lewis Lavenu, who died in 1818. She married Mori, a virtuoso violinist, in 1819 and together they took over her late husband’s business. The scoring for flute and string sextet is highly accomplished, the violas often pairing the flute to complete the parts originally assigned to the winds. The fresh dimension this arrangement brings to Beethoven’s timeless masterpiece will be a revelation to chamber groups and audiences alike.
No sooner had Ming Wang completed her apocalyptic chamber work Das siebente Siegel (“The Seventh Seal”) than the global Coronavirus pandemic erupted. Individuals and families succumbed to panic: they began to hoard food and other items, to self-isolate within the apparent safety of their own four walls and wait for the catastrophe to end or even perhaps for a miracle. In the Old Testament book of Genesis we learn that Noah built an ark to save his family and every species of animal from the Flood. This biblical story resonated with Ming, inspiring her to build her own ark — in sound. She chose certain chords to act as the vessel’s scaffolding and then sought to depict, alternately, the massive waves outside the ark and the powerless, fearful humans and animals sheltering within.
Composer:Ming Wang Publication date: April 2021 Instruments: Clarinet, trombone, piano, accordion, viola, violoncello Format: Full score and parts Duration:c.9' Series:Contemporary Pages: viii/24 + 4 + 12 + 4 x 8 ISMN: 979 0 708185 31 4 Code:HH520.FSP Price: £30.00
Haydn’s Symphony No. 101 was first performed on 3 March 1794 at the Hanover Square Rooms under the direction of Salomon as concertmaster with the composer himself at the fortepiano. The work was an instant success and soon became, and remains to this day, one of Haydn’s most popular symphonies.
Hummel’s arrangement of the Piano Concerto in D major, K537, the fifth in the series to appear, was published in 1835. The lead-in (Eingänge) models that he provided are particularly valuable in the case of K537, which is among those concertos for which Mozart left no written-out examples. Equally importantly, Hummel might well have witnessed the work’s compositional process and first performance, and thus his own contributions could be considered as authoritative.Read full description