SKU: BR.OB-5215-17
,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)
ISBN 9790004331996. 9 x 12 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).
SKU: BR.OB-5383-12
ISBN 9790004335345. 12 x 9 inches.
SKU: PR.16400212S
UPC: 680160037605.
Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.
SKU: BA.BA04081
ISBN 9790006497782. 33 x 25.8 cm inches.
In his libretto for “ Riccardo primoâ€, Paolo Rolli drew on Antonio Lotti’s opera “ Isacio tiranno †which had been performed in Venice in 1710. Handel needed a text with two great women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni . He had already written the operas “Alessandro†and “ Admeto †for them. He began composing “ Riccardo †in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remained closed. For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a new opera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultan of Egypt and Syria , who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion‹’ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.
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
SKU: PE.EP72822
ISBN 9790577011769. 232 x 303mm inches. English.
I have only visited Damascus once, twenty years ago, on the way to Palmyra. I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist. Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.
In Palmyra, I was met with extraordinary kindness everywhere. On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.
Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed. When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.
I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine. I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation. In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry. It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.
In setting these words, I have not attempted to imitate Syrian music. However, there is what might be called a linguistic accommodation in my choice of scale, or mode. Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation. This eight-note mode is similar to scales found in Syrian music. I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words. In this work, its Arabic aspect is more prominent. - Jonathan Dove
Contents : Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras(Gardel). So muss Tango klingen! In den ersten Jahrzehnten in der Geschichte dieser Musik entstanden einige ihrer schönsten und bekanntesten Werke. Mit den Arrangements des Tangopianisten J. M. Solare wird es nun auch den im Tango unerfahrenen Spielernmöglich, sie absolut authentisch zum Klingen zu bringen.
Inhalt: Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras (Gardel).Cest ainsi que doit vibrer le tango ! Quelques-uns des plus beaux et des plus célèbres tangos sont rassemblés dans ce recueil. Ces arrangements, magnifiquement ciselés par le célèbre pianiste grand spécialiste du tango J. M. Solare, sont accessiblesmême aux débutants.
Sommaire : Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras(Gardel). Questo è il vero suono del tango! I primi decenni della storia di questa musica ci hanno regalato alcune delle canzoni più belle e pezzi famosi. Gli arrangiamenti del pianista di tango J.M. Solare aiutano i musicisti che non hanno familiarit con liltango, ad interpretare in modo autentico questa musica. Include tanghi di E. Arolas, C. Gardel, A. Greco, V. Greco, E. Ponzio, e A. Villoldo.
Indice: Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras (Gardel)
SKU: BT.AMP-422-140
English-German-French-Dutch.
Three Washington Statues was commissioned by the United States Army Band â??Pershings Ownâ?, led by Colonel Thomas H. Palmatier. Washington D.C. contains some of the worldâ??s most iconic monuments, memorials and statues. Philip Sparke has chosenthree of these as the inspiration for this piece: â??The Lincoln Memorialâ?? in the form of a Greek Doric temple in which the composer depicts the grandeur of this monument; â??The Martin Luther King, Jr. Memorialâ?? on which steps the iconic speech â??I havea dreamâ?? was given - the music is both reverential as well as powerful referring to Martin Luther Kingsâ?? speech; and the â??Encoreâ?? statue in memory of the world famousAfrican-American composer, pianist and bandleader Duke Ellington. In this finalmovement, Philip Sparke catches the virtuosic, energetic and unique dynamism of Ellingtonsâ?? music.Three Washington Statues is geschreven in opdracht van de United States Army Band â??Pershingâ??s Ownâ?? en de leider van dit orkest, kolonel Thomas H. Palmatier. Washington D.C. is het decor van een aantal van de meest iconische monumenten,gedenktekens en standbeelden van de VS. Componist Philip Sparke heeft er drie uitgekozen als inspiratie voor dit werk: The Lincoln Memorial, in de vorm van een Griekse Dorische tempel, waarin de grandeur van het monument wordt verklankt; het MartinLuther King Jr. Memorial, het gebouw waar de iconische toespraak â??I have a dreamâ?? ooit weerklonk de sfeer is respectvol en eerbiedig, maar de muziek weerspiegelt tevens de karakteristiekekracht die ervan uitgaat; en het beeld â??Encoreâ?? vancomponist, pianist en bandleider Duke Ellington in dit laatste deel geeft Philip Sparke de virtuoze, energieke, unieke en dynamische stijl van Ellingtons muziek weer.Three Washington Statues wurde von der United States Army Band Pershings Ownâ??, die von Oberst Thomas H. Palmatier geleitet wird, in Auftrag gegeben. Washington D.C. besitzt einige der weltberühmtesten Bauwerke, Denkmäler und Statuen. PhilipSparke hat drei von diesen als Inspiration für dieses Stück genommen. So beschreibt er die Erhabenheit des Lincoln Memorialâ??, das mit seinen dorischen Säulen in Form eines griechischen Tempels erbaut wurde. Das Martin Luther King, Jr. Memorialâ??erinnert an die legendäre Rede Martin Luther Kings I have a dreamâ?? (Ich habe einen Traumâ??). Die ehrfurchtsvolle und zugleich kraftvolle Musik ist ein Tribut an diese Rede. Die StatueEncoreâ?? erinnert an den weltbekannten afroamerikanischenKomponisten, Pianisten und Bandleader Duke Ellington. In diesem letzten Satz fängt Philip Sparke die virtuose, energiegeladene und einzigartige Dynamik von Duke Ellingtons Musik ein.Three Washington Statues fut commandé par la United States Army Band « Pershingâ??s Own », dirigée par le Colonel Thomas H. Palmatier. Certains des monuments, mémoriaux et statues les plus emblématiques du monde se trouvent Washington D.C.Philip Sparke en a choisi trois comme inspiration pour ce morceau : « The Lincoln Memorial » où le compositeur dépeint la grandeur de ce temple grec de style dorique ; « The Martin Luther King, Jr. Memorial » sur les marches duquel le discourscélèbre « I have a dream » fut prononcé la musique est révérencieuse ainsi que puissante en référence ce discours de Martin Luther King ; et la statue « Encore » en mémoire du célèbrecompositeur, pianiste et chef dâ??orchestre de jazzafro-américain Duke Ellington. Dans le mouvement final, Philip Sparke a réussi saisir le dynamisme virtuose, énergétique et unique de la musique dâ??Ellington.Commissionato dalla banda dellâ??esercito statunitense, condotta dal colonnello Thomas H. Palmatier, Three Washington Statues è un brano dedicato ad alcuni dei più noti e iconici monumenti americani mai realizzati. Philip Sparke ha scelto,difatti, di musicare la stentoreit del Lincoln Memorial, della statua di Martin Luther King di West Potomac Park e di quella dedicata al gigante della musica afro-americana Duke Ellington.
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