The autograph score of Lalo’s much played concerto is lost; the only remaining sources are the first edition score and parts as well as the autograph piano reduction by Lalo . Hugh Macdonald, the highly acclaimed editor of French music, has discovered that Lalo’s piano reduction was used as a working score by Lalo himself. He continued to make alterations to the work in the reduction even after the work was officially published. These changes provide for many corrections in the solo part as we know it, but also call for some orchestral passages to be re-orchestrated to match up with Lalo’s final alterations.
- First ever critical edition of this romantic masterpiece
- Preface in English / German / French
- Score, orchestral parts, piano reduction
- First ever critical commentary (Eng), integrated in the score
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Le Toreador ou l'Accord parfait (F-G) (Urtext). : Large Score: (Barenreiter)
Le Toreador ou l'Accord parfait (F-G) (Urtext). : Vocal Score: (Barenreiter)
Concerto for Violin, Op.28. : Study score: (Barenreiter)
Concertino Op.21 : Study score: (Barenreiter)
Events No.1 : Study score: (Barenreiter)
Events No.2 : Study score: (Barenreiter)
Mikrographien, Op.24 : Study score: (Barenreiter)
Op Overture. : Study score: (Barenreiter)
Meli. Cantata, Op.17 (Gr-E). : Study score: (Barenreiter)
Kinesis ABCD, Op.31.: Study score: (Barenreiter)
Cheironomies (Gesten). Conductor's improvisation (without text). : Playing score: (Barenreiter)
Concertino Op.16b : Study score: (Barenreiter)