SKU: HL.49007913
ISBN 9790001084659. German.
Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical 'grammar' is therefore an essential prerequisite of any convincing interpretation. The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th-20th century serve as models from which he derives the 'rules' appropriate for an interpretation in keeping with each period. * These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion. About 'rules' * Preface * Golden rules for the interpreter * The structure and analysis of melody * Notes on the execution of ornamentation in the 17th and 18th centuries * Ornamentation in the 19th and 20th centuries * Phrasing * Rhythm * Accents * Dynamics * Tempo * Metre * Flexibility of rhythm/rubato * Shaping the musical phrase * Conclusion * Bibliography * Index * Musical examples.
SKU: BT.EMBZ6600
SKU: BT.MUSM570207992
English.
For Wind Quintet. Published 1998. Commissioned by the Junior Academy of the Royal Academy of Music. First performed Score. First performance: RAM/Junior Academy students, Duke's Hall, RAM, London, 20th June 1998. First professional performance: Galliard Ensemble, Wanstead and Woodford Festival of Chamber Music, Holy Trinity Church, 17th April 1999. Recorded on MERIDIAN CDE 84429 and DEUX-ELLES DXL 1084. Duration: c. 10 minutes.
SKU: M7.BP-1864
ISBN 9790015186400.
SKU: HL.49010536
ISBN 9790001094375. UPC: 073999266931. 9.0x12.0x0.17 inches.
Contents: Sonata No. 4 in G Major * Sonata No. 6 in A minor.
SKU: CA.3840413
ISBN 9790007215217. Key: D major. Language: all languages.
Johann Christian Bach was - as his father before him - only very seldom satisfied with the compositions that he put down on paper. Thus did this concerto too undergo many corrections/revisions by the composer and today consists of three movements of similar length. Although they were initially handed down separately at different locations, the motivic relationship as well as the melodic and figurative references among themselves clearly reveals the common identity of the three movements. Not only the final rondo is characterized by highly virtuoso passages, but both the slow, second movement as well as the introductory movement testify to youngest Bach son's compositional greatness, whose works later generations unjustly let almost fall into desuetude. Score and part available separately - see item CA.3840400.
