| Die Donau Orchestra Barenreiter
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by LeoÅ¡ Faltus and MiloÅ¡ Å tedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861). ISBN 9790260104211. 34.3 x 27 cm inches. LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.
“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.
A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.
To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.
It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.
One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Collected Songs for Soprano and Piano Soprano voice, Piano - Intermediate Ione Press
Composed by Henry Mollicone (1946-). For soprano voice solo, piano. Secular, 21s...(+)
Composed by Henry Mollicone (1946-). For soprano voice solo, piano. Secular, 21st century. Moderately difficult. Collection. Published by Ione Press
$18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mini-Musicals Und Erzahltheater Uber Hasen, Huhner Und Ostern Guitar [Sheet music + Audio access] Schott
Guitar SKU: HL.49046927 Guitar. Guitar. Classical, General Worship...(+)
Guitar SKU: HL.49046927 Guitar. Guitar. Classical, General Worship, German Edition, Sacred. Softcover Audio Online. 72 pages. Schott Music #ED23507. Published by Schott Music (HL.49046927). ISBN 9781705169117. UPC: 196288082262. The poor bunny in the pit is sick and is cared for by the mother and the rabbit doctor. Little bunny wanted to go for a walk, but then it falls into the stream and luckily has an idea that can save it. The Hare and the Hedgehog is a fairy tale by the Brothers Grimm, followed by The Hare and the Deer and The Hare and the Frogs. Easter on the chicken yard, The Easter bunnies and the chickens, Easter bunny Felix and the hens and Easter bunny Hans with the drum are happy stories about Easter and egg dyeing. The Easter Story tells the story of the passion and resurrection of Christ. The mini musicals bring together beautiful stories and traditional melodies. Texts and songs can be adapted to the age of the children. For each song there is a picture card for narrative theater as a PDF and an MP3 playback for download. Classical guitar chords and JelGi(r) numbers are provided. Simple songs can be accompanied by children on guitars, orff instruments and boomwhackers. $23.99 - See more - Buy online | | |
| Power Tools for Synthesizer Programming Hal Leonard
Book/Online Media SKU: HL.131064 The Ultimate Reference for Sound Desi...(+)
Book/Online Media SKU: HL.131064 The Ultimate Reference for Sound Design: Second Edition. Power Tools. Instruction, Recording/Music Business. Softcover Media Online. 256 pages. Published by Hal Leonard (HL.131064). ISBN 9781480397941. UPC: 888680023690. 7.25x9.25x0.618 inches. Jim Aikin Foreword by Stephen Fortner Power Tools Series. If you make any type of electronic music – dance mixes, hip-hop, jazz fusion, country pop, film soundtracks, or experimental avant-garde – Power Tools for Synthesizer Programming is the book for you. All too often, owner's manuals tell you what button to press, but fail to explain what's actually going on in the instrument or what it means musically and technically. This is the only book that gives you the big picture while at the same time providing you with insightful details. Even if you're just grabbing presets to play on the keyboard, you'll get to the music faster thanks to the tips in this book. And when you start editing the presets or designing your own sounds, Power Tools for Synthesizer Programming becomes an essential resource. Chapters on oscillators, filters, envelope generators, LFOs, effects, and digital audio reveal how to get the most out of your instruments. To supplement the text, dozens of new illustrations have been added, and more than 30 streaming online videos, narrated by the author, walk you through the operational details of numerous software instruments. If you've ever wanted to spend quality time with a synthesizer expert, you'll never have a better opportunity! $39.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Learn to Play Piano In 24 Hours (Book and DVD) Piano solo [Sheet music + DVD] - Beginner Music Sales | | |
| Élégie Guitar Classical guitar [Score] - Intermediate Doberman
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522). ISBN 9782897963026. Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France. Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis. Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO. Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique. Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même. Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après. Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme. Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français ! Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas. Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.
Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France. We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA. After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department. In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music. Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself. He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter. Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French! Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas. His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Compatible Duets for Winds 2 Flutes (duet) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Flute, Oboe. 48 pages. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| More of the Best Acoustic Rock Songs Ever Piano, Vocal and Guitar [Sheet music] - Easy Hal Leonard
By Various Artists. Piano/Vocal/Chords Songbook (Arrangements for piano and voic...(+)
By Various Artists. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 376 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elegy for Tuba and Wind Ensemble Potenza Music
Composed by Edward J. Madden. Chamber music, 20th century. Published by Potenza ...(+)
Composed by Edward J. Madden. Chamber music, 20th century. Published by Potenza Music (P2.W0014).
$99.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sinfonia XVI: Transcendental Vienna Concert band [Score and Parts] - Intermediate Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. ...(+)
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6). ISBN 9781599130729. Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4. $135.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cat Stevens: Complete Chord Songbook Lyrics and Chords [Sheet music] Amsco Wise Publications
By Cat Stevens. For Guitar. Folk, Pop, Rock. Sheet Music. 304 pages. Published b...(+)
By Cat Stevens. For Guitar. Folk, Pop, Rock. Sheet Music. 304 pages. Published by Wise Publications.
$29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Road To Harvest String Quartet: 2 violins, viola, cello Bote and Bock
Set of Parts String Quartet (PARTS) SKU: HL.48025396 String Quartet Se...(+)
Set of Parts String Quartet (PARTS) SKU: HL.48025396 String Quartet Set of Parts. Composed by Elena Kats-Chernin. Boosey & Hawkes Chamber Music. Classical. Softcover. Duration 180 seconds. Bote & Bock #M202536599. Published by Bote & Bock (HL.48025396). UPC: 196288195481. “In 2006 Kylie Kwong who is the ambassador for the Fair Trade Association of Australia and NZ asked me to write a piece for Fair Trade event, she asked for something earthy and poetic and she told me a lot about what Fair Trade stands for. This piece grew out of the many impressions of the stories of people growing coffee and sugar in harsh circumstances, transporting the produce on difficult roads. At the same time I wanted to give it a sense of optimism and hope. There are versions of it for Viola and Piano, Violin and Piano, as well as Piano solo. Version for string quartet composed 2007.†(Elena Kats-Chernin). $25.99 - See more - Buy online | | |
| The Ultimate Gospel Choir Book 4 - Vocal Score Choral SATB SATB, Piano [Vocal Score] Zebe Publishing
By Jeff Guillen. Arranged by Jeff Guillen. For SATB choir and piano. The Ultimat...(+)
By Jeff Guillen. Arranged by Jeff Guillen. For SATB choir and piano. The Ultimate Gospel Choir Book. Collection of 17 lively, invigorating songs which are all in delightful settings for Mixed Voices and piano. Includes: Pass Me Not, Jesus On The Mainline, What A Friend, My Soul Is A Witness, Hush and many more.. Gospel Music, CCM. Intermediate. Vocal score. 44 pages. Published by Zebe Publishing
$9.95 $9.4525 (5% off) See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Keyboard Essentials - Playing Keyboards the New Way Piano solo - Beginner Schott
Piano (Piano) - very easy SKU: HL.49007464 Volume 1. Composed by A...(+)
Piano (Piano) - very easy SKU: HL.49007464 Volume 1. Composed by Alex Benson. This edition: Saddle stitching. Sheet music. Edition Schott. The Keyboard Method for all one manual models with automatic accompaniment and rhythm facility for teaching and private study. Classical, Contemporary, Educational. 64 pages. Schott Music #ED 7710. Published by Schott Music (HL.49007464). ISBN 9790001080293. 9.0x12.0x0.217 inches. English. Keyboard Essentials is aimed at all who want to learn to play keyboards successfully in methodically thought-out teaching units with the aid of popular songs and useful tips, though tutoring or private study. It is aimed at beginners of all ages but also, for example, wind players, singers or guitaristswho want to become musical 'insiders' and who though playing the keyboard see an introduction to improvisation, composition, harmony, etc. On the keyboard in particular, with its clearly arranged, regular structure of keys, scales, chords, and harmonic relations are presented more clearly and systematically than on any other instrument. Musicians with previous knowledge may join in at volume 2 or 3. $19.99 - See more - Buy online | | |
| Compatible Trios for Strings Carl Fischer
(32 Trios That Can Be Played by Any Combination of Instruments). By Larry Clark....(+)
(32 Trios That Can Be Played by Any Combination of Instruments). By Larry Clark. Edited by Doris Gazda. Arranged by Larry Clark. For bass. Bass part. 48 pages. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| Staeliana String Quartet: 2 violins, viola, cello Editorial de Musica Boileau
String quartet SKU: BO.B.3542 Composed by Domenec Gonzalez de la Rubia. P...(+)
String quartet SKU: BO.B.3542 Composed by Domenec Gonzalez de la Rubia. Published by Editorial de Musica Boileau (BO.B.3542). Staeliana was commissioned by the Fundacio Caixa de Catalunya in 2007 for the inauguration of an exposition of the work of Nicolas Staël at La Pedrera, Barcelona. In this work I wanted to compose homage to a painter who knew how to join together in his unique works both the traditions of the past along with the vanguard of his time. Beginning with figurative works which lead toward abstraction, his body of work can be defined as a contrast between these two concepts which, with extreme simplicity, define his entire artistic conception. Staeliana, an expressive chorale, at times both luminous and dramatic, dissolves into the most minimal expression. From the first joining together of the voices it concludes with utter simplicity of expression. The suicide of the artist in 1955 is representative of the dissolution of his existence as well as of his artistic works. This contrast between figurative and abstraction is reflected in the music by the contrast between stability and tension. I believe that this duality may be found both in his work and in his life, always oscillating between living a creative life or opting for death, which may be seen as a fusion in nothingness with the plenitude of purest simplicity. $28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Compatible Duets for Strings Carl Fischer
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry Clark. Arranged by Larry Clark. For bass. Part book (softcover). Published by Carl Fischer
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| Compatible Duets for Winds Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Trombone, Euphonium Bc, Bassoon. Published by Carl Fischer
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| Compatible Duets for Winds 2 Tubas (duet) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Tuba. 48 pages. Published by Carl Fischer
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| Compatible Duets for Strings 2 Cellos (duet) Carl Fischer
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry Clark. Arranged by Larry Clark. For cello. Part book (softcover). Published by Carl Fischer
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