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Liszt composed Trois odes funèbres betwwen 1860 and 1866, shortly in the wake of his first 12 tone poems. The third of the odes was the first to be published, as an 'epilogue' to the related tone poem Tasso: Lamento e Trionfo, S.96. The first two odes had to wait until 1915 to appear in their original orchestral setting. This new score is a digitally enhanced reissue of the scores issued by Breitkopf und Härtel between 1908 (No.3) and 1915 as part of the critical edition prepared by Otto Taubmann and Berthold Kellermann for the Liszt Gesammtausgabe. In contrast so many of the on-demand scores now available this one comes with all the pages with each image thoroughly checked to make sure it is readable, then beautifully printed on quality stock with an attractive glossy cover.

The Carnival Overture, Op.92 - second of the set of three concert overtures originally entitled as "Nature, Life and Love", followed fast on the heels of its predecessor. Work started on July 28 and the piece was completed on September 12 of 1891. The first performance was given (along with its two companions) on April 28, 1892 in Prague's National Theatre with the composer conducting the resident orchestra. The original title of the overture was "Life" which was ultimately abandoned for the more poetic Karneval. The score offered here is a reissue of the 1955 critical edition of Frantisek Bartos and Antonin Cubr first published in the Dvorak complete works by the state publishing concern. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. IMSLP page Wikipedia article

The first of the three Slovanské rapsodie was composed from February 13 to March 17 of 1878 and received its premiere (along with the second) in Prague's Provisional Theatre on November 17 of the same year in a concert where Dvorak introduced himself as both composer and conductor. Rather than following a classical form, the rhapsodies were intended as absolute music to be enjoyed on their own terms, avoiding any external program. Though conceived as a set of three, the works have mainly been performed separately in the intervening years, which is actually somewhat in character with their independent nature. This new study score is a digitally enhanced reissue of the full score first published in 1959 by the Czech State Publishers as part of the Dvorak collected works, edited by Antonin Pokorny and Karel Solc. In contrast so many of the on-demand scores now available this one comes with all the pages with each image thoroughly checked to make sure it is readable, then beautifully printed on quality stock with an attractive glossy cover.

Composed in the late summer of 1876, Dvorak's first effort at a full-blown concerto shows signs of an unusual amount of revision in the composer's hand - especially for the solo piano part. This might explain the delay in the concerto's premiere, which was given at the Provisional Theatre in Prague on March 24, 1878 with Karel Slavkovsky as soloist accompanied by the Provisional Theatre Orchestra under the baton of Adolf Cech. The composer himself wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things."The ungainly solo part no doubt also played a role in the work's dely in publication, which didn't take place until 1883. Even after this, and despite much beauty in the music itself, performances were scarce due to the difficulty and charchter of the solo part. The solo part was revised heavily by the Czech pianist Vilém Kurz (1872-1945), whose version was premired by his daughter Ilona Kurzová and the Czech Philharmonic on December 9, 1919 and is the one most often performed today.This new study score is a digitally enhanced reissue of the full score first published in 1956 by the Czech State Publishers as part of the Dvorak collected works, edited by Jiri Berkovec and Karel Solc, which includes both the composer's original solo part and the re-arranged one made by Kurz. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The matching large score and orchestral parts are now also available from Serenissima Music.

Elgar produced orchestral arrangements of three items (Nos.1, 3 and 6) from his own set of six songs for chorus and orchestra entitled "From the Bavarian Highlands" in the wake of the successful premiere at the Worcester Festival in April of 1896. The original settings, with text by Alice Elgar, were completed by April of the previous year and no doubt inspired by the Elgars' summer holidays spent in Garmisch, Bavaria. The orchestral suite was given its first performance at London's Crystal Palace on October 23, 1897 under August Manns. This new study score is a digitally-restored reproduction of the one first issued by Joseph Williams of London in 1901. In contrast to so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is actually readable.

Composed originally in four movements during 1907-08, Foote dropped the Theme and Variations while revising the work prior to its premiere, given in Boston on April 16, 1909 with the Boston Symphony under the direction of Max Fieldler. The work gained almost immediate popularity and still performed today. This new study score is a digitally enhaved reissue of the edition first published in 1909 by Arthur P. Schmidt of Boston. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. IMSLP page All Music Guide

Bach composed the first version of this piece in 1723 using the key of E-flat major for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, and transposied it to D major, providing better sonority for the three trumpets, which is the standard version of the work encountered today. The Magnificat is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. The four movements from the original version have been transposed to D major and inserted in their original order for those wishing to have the omitted Christmas texts.This new study score is a digitally enhanced reissue of the full score edited by Alfred Durr for the Neue Bach Ausgabe in 1956. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The score is beautifully printed at a readable size with a quality cover. Matching full score and orchestral parts are also available from Serenissima Music (93339).