Jonathan Del Mar, editor of the nine Beethoven symphonies, has now turned his attentions to Czech music. His edition of Antonín Dvořák’s Cello Concerto in B minor combines the advantages of a completely authoritative Urtext edition with all the practical requirements of soloist and orchestra.

Beethoven’s two violin romances are popular early works which are a mainstay of the repertoire. Jonathan Del Mar has now created new editions of them, and as part of the process, included practical performing tips in the Urtext edition.

Schumann’s Violin Concerto in an arrangement for clarinet and orchestra and the Waldszenen for chamber orchestra are the latest works from arranger Andreas N. Tarkmann’s pen. Both shed new light on well-known works.

Bereshit is Matthias Pintscher’s new composition for the Ensemble Intercontemporain. It takes as its starting point the first word of the Torah, the Old Testament. “In a beginning …” refers to the biblical creation myth. Matthias Pintscher’s composition for large ensemble deals with nothing less than the act of creation, the formation of the natural, from a “beginning of a beginning from absolute darkness and shapelessness ...” Bereshit receives its premiere in May 2013 by the St. Paul Chamber Orchestra conducted by the composer.

Without any chance of a performance, Bohuslav Martinů composed two orchestral works, which were probably written in 1914/15. These have now been published by Bärenreiter Praha.

After its much-acclaimed premiere at the Schwetzingen Festival in 1964 and a transfer to Hamburg, Georges Auric’s music to Molière’s Monsieur de Pourceaugnac disappeared into the archives. Now this extremely effective music is crying out to be rediscovered – either in concert performance or with the musical comedy.

(7.4.2013) The Berner Symphonieorchester performs the 2nd movement of Andrea Lorenzo Scartazzini’s Viaggiatori after Dante’s Divina Commedia on 16 and 17 May, conducted by Mario Venzago with the chorus and soloists of the Theatre in the Kultur-Casino Bern. In Viaggiatori for soloists, chorus and orchestra, Andrea Lorenzo Scartazzini has set to music “situations of being in transit, travel stories from places which, as it were, no (longer) exist – noisy and quiet places of imagination and philosophical conjecture”. The second movement is an elegy, an introverted mourning on words from Canto IV of Dante Alighieri’s Divine Comedy.