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Borodin started work on his second symphony soon after the 1869 premiere of his first. He worked on it off and on until 1876, putting it aside for another project - misplacing his orchestral scores of the first and last movements in the process. When a performance was scheduled in 1877, Borodin had to re-orchestrate the two movements from his piano-4 hands score. This new score is a digitally-enhanced, corrected reprint of the one first issued in 1946 by Muzgiz. Editors Clinton Nieweg and Nancy Bradburd have thoroughly researached the source material to produce an extremely authoritative score of this renowned favorite of the Russuan master's three symphonies. Wikipedia article IMSLP page YouTube - Musica Nova Orchestra, Warren Cohen (conductor)

This is an unabridged digitally-enhanced reprint of the vocal score that was prepared by the composer with assistance from his student Jean Roger-Ducasse and published by J. Hamelle & Cie. in 1900. Measure numbers have been added along with a table of contents and instrumentation. The large (A4) format is extremely easy to read for singers, choruses and pianists. This is Faure's final version the Requiem, whose accompaniment was expanded to full symphony orchestra from the original version for organ and chamber ensemble. This version received its premiere on July 12, 1900 in Paris' Trocadéro auditorium with the voices, chorus and orchestra conducted by Paul Taffanel. It is the version that is by far the most widely performed and recorded, and performed at the composer's funeral in 1924. The matching large conductor score and orchestral parts are also available from Serenissima Music.

Elijah is one of the most dramatic oratorios ever written - crowded with stirring incident and music which claims attention. It was the composer's desire to be dramatic, and he knew how to achieve his end. The text is a mosaic of biblical verses taken principally from the First Book of Kings, but having the effect of a vivid, spontaneous story. As with Mendelsohn's earlier oratorio St. Paul, the text was translated and assembled by Julius Schubring from Biblical originals. The English translation was made by William Bartholomew, who sent it to the composer piecemeal as he worked as the premiere was actually given in English on August 26, 1846 in Birmingham. The musical character of Elijah is clearly drawn, and Mendelssohn has succeeded in making the prophet "A man strong and zealous, full of bitterness and scorn, the antagonist of the rabble, whether of courtiers or populace, well nigh the antagonist of the world, yet borne aloft on the wings of angels." Unabrdged digitally enhanced reissue in large-format of the vocal score edited by Hermann Ktrezschmar and published in Leipzig by C.F. Peters in the late 19th century. Matching full score and orchestral parts are also available from Serenissima Music (92659).