SKU: HL.49005032

ISBN 9790001053945. 9.0x12.0x0.09 inches.

Diese Sonatine, entstanden 1893 wahrend Dvoraks Aufenthalt in den USA, ist seinen sechs Kindern gewidmet. Angeregt durch die faszinierende nordamerikanische Landschaft und Begegnungen mit deren indianischen Ureinwohnern, ist eine Fulle von Eindrucken auch in die Satze dieser Sonatine eingeflossen. Sie machen sie demzufolge nicht nur zu nutzlicher, sondern auch zu besonders reizvoller Unterrichtsliteratur.

SKU: HL.49044134

ISBN 9790001192880. UPC: 888680097493. 9.0x12.0x0.251 inches.

Die Struktur musikalischer Hierarchien in drei Satzen: 'Do' fur die westliche, 'Mi' fur die ostliche, pentatonische Musikkultur, 'Re' im Wechsel. Eotvos baut in seinem zweiten Violinkonzert komplexe Weltbilder; gewidmet ist das Werk der Geigerin Midori.

3 (2. auch Picc., 3. auch Altfl.) * 2 (2. auch Engl. Hr.) * 3 (2. auch Es-Klar., 3. auch Bassklar.) * 2 (2. auch Kfg.) - 2 * 2 * 1 * 0 - S. (I [links]: Glsp. * Trgl. [t.] * Bong. (sehr h.) * 2 Rohren (Metall) * Sizzle-Beck. * Marac. * 3 Woodbl. * Chin. Dom-Beck. [t.] - II [Mitte]: Crot. * Xyl. * Trgl. [m.] * Rohrengl. * 2 Gongs * Caxixi * Guiro [m./h.] * Chin. Dom-Beck. [m.] - III [rechts]: Cowbells * 2 Beck. [t./m.] * Trgl. [h.] * Bong. [h.]* Sizzle-Beck. * Marac. * Tamb. * Chin. Dom-Beck. [h.] * Tamt. [t.]) (3 Spieler) - Hfe. * Cel. - Str. (8 * 6 * 6 * 6 * 4 [3./4. 5-Saiter]).

SKU: PR.114417660

ISBN 9781491107966. UPC: 680160636211. 9x12 inches.

A microcosmic masterpiece in its own right and defined by the composer as an encore piece, Bitten at the Opera is all that and more. Carter Pann may leave us guessing about some of the references in his music and title - yet we do feel the bite, the melodramatic thrill, the references to Carmen, and the drama of the great Italian tragic operas. Parody aside, Bitten at the Opera is a brilliant 4 1/2 minute showpiece full of lyricism and fire, ideal for punctuating a recital. For advanced performers.

SKU: HL.50600469

8.25x11.75x0.14 inches.

“I belong to that group of people who appropriate Debussy's wonderfully formulated philosophy according to which music begins where words end. Contrary to a view that has become widespread during the past 100 years, I am convinced that the task of the composer is to write music, not to talk about it. Even if my technical and aesthetic commentaries on one of my compositions were to have a certain value for listeners, such a commentary would have the effect that I were more or less forcing my own vision of the work onto the listener. The power of music is, however, a gift that makes it capable of calling forth different reactions in listeners. I shall therefore limit myself to saying that the 'Imaginary Variations' were inspired by the wonderful recordings of Janet Packer that I listened to with the greatest pleasure prior to the beginning of my work. The title is derived from the fact that this composition is structured similarly to the classical variation form and that the audience can listen to the constant changes of the musical ideas. In truth, however, the twelve short sections of the work are not true variations even though they reveal some connections and similarities.” (Krzysztof Meyer).