SKU: PA.H07957
ISBN 9790260104464. 31 x 23.5 cm inches.
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
SKU: HL.49018916
ISBN 9790001174718. 7.5x11.0x0.048 inches. English.
The Belgian composer and conductor Kurt Bikkembergs (*1963) has added to the repertoire for women's choir again: With 'The Maiden and the Sea' based on a text by Rene Geldof, he presents a revised and translated English version of his work 'Het meisje en de zee' written in 1994. It is a choral setting in which Bikkembergs has onomatopoeic and spoken elements alternate with mysterious chordal sounds and combines them in a skilful manner - a fascinating composition for performers and audience alike.
SKU: BT.DHP-1216332-215
English-German-French-Dutch.
Funk is a very rhythmic music style that finds its origin in the 1960s. The American artist James Brown and the New Orleans-based group The Meters are considered the founders of this genre. Funk is characterized by an independentbass line that emphasizes each first beat of the bar (the one), as well as by a rhythmic combination of syncopated melodies and accompaniments with lots of harmonic additions. This style-conscious composition by Peter KleineSchaars contains a healthy blend of the harmonic ingredients as well as the rhythmic challenges of funk music. On the one hand, New Orleans Funk is an educational exercise with the rhythmic cells 9,10, 14, 15 and 16: on the otherhand, it is a funky highlight of your rehearsal or concert!Funk is een sterk ritmische muziekstijl die in de jaren zestig van de vorige eeuw is ontstaan. De Amerikaanse muzikant James Brown en de uit New Orleans afkomstige groep The Meters worden beschouwd als de grondleggers van ditgenre. Naast een zelfstandige baslijn die elke eerste tel van de maat (the one) stevig benadrukt, wordt funk gekenmerkt door een ritmisch samenspel tussen syncopische melodieën en begeleidingen met veel harmonische toevoegingen.Deze stijlbewuste compositie van Peter Kleine Schaars bevat zowel de harmonische ingrediënten als de ritmische uitdagingen die erbij horen. Enerzijds is New Orleans Funk een pedagogische oefening met de ritmische cellen 9,10, 14,15 en 16, anderzijds is het werk een funky hoogtepunt van uw repetitie of concert!Funk ist ein sehr rhythmischer Musikstil, der seinen Ursprung in den 1960er Jahren hatte. Der amerikanische Künstler James Brown und die aus New Orleans stammende Band The Meters gelten als die Begründer dieses Genres. Funkzeichnet sich durch eine unabhängige Basslinie aus, die jeden ersten Taktschlag (the one“) betont, sowie durch eine rhythmische Kombination von synkopierten Melodien und Begleitungen mit zahlreichen harmonischen Ergänzungen.Diese stilkonforme Komposition von Peter Kleine Schaars enthält eine gute Mischung aus harmonischen Zutaten sowie rhythmischen Herausforderungen der Funkmusik. Einerseits ist New Orleans Funk ein pädagogisches Übungsstück aus denRhythmus-Einheiten 9, 10, 14, 15 und 16, andererseits ist es auch ein funkiges Highlight für Proben oder Konzerte!Né dans les années 1960, le funk est un style musical très rythmé. Le chanteur américain James Brown et un groupe de la Nouvelle-Orléans, The Meters, sont considérés comme les fondateurs de ce genre. Le funk se caractérise par uneligne de basse indépendante qui souligne le premier temps de la mesure, ainsi que par une combinaison rythmique de mélodies syncopées et d’accompagnements chargés d’adjonctions harmoniques. Adoptant pleinement ce style, lacomposition de Peter Kleine Shaars est l’heureuse fusion des ingrédients harmoniques, mais aussi des difficultés de la musique funk. D'une part, les cellules rythmiques 9, 10, 14, 15 et 16 font de New Orleans Funk un exercicepédagogique : d’autre part, cette pièce apportera une belle ambiance funky vos répétitions et vos concerts !
SKU: IS.PN7495EM
ISBN 9790365074952.
Louis Anthony deLise is an American composer, pianist, and percussionist. The compositions in A Gift of Moments are typical of deLise’s composing style that often features the juxtaposition of disparate musical elements like serial technique, frequently changing meters, the urgency and drive of rock and roll, and the lush harmonies of 1960’s West Coast Jazz. Dr. deLise was Adjunct Lecturer of Theory and Composition at the Boyer College of Music and Dance (in Philadelphia, Pennsylvania). He is the author of The Professional Songwriter, a textbook on songwriting. The title, A Gift of Moments, comes from something a friend wrote about her deceased husband. She described their too-short time together as, a gift of moments. (Time with someone you love is always too short, isn’t it?) Since February 2020, (since I’ve been locked down at home with my patient and loving wife, Theresa), like the rest of us, I’ve been reminded each day of just how delicate life is. My friend’s comment about her lost love has gradually revealed itself as a worthy title for the collection of music I was creating during this time of lockdown. All of the pieces in this collection are in some way about love: of a mate, of family, our way of life, and those beliefs we consider particular to us. The compositions are varied in style as they encompass musical gestures reflective of the many disparate musical traditions alive in my soul. With this unapologetically sensitive, perhaps even nostalgic, music of mine I intend to blur the arbitrary boundaries of genre classification, like classical or pop; ambient or orchestral. Special thanks to Vivian Barton Dozor, a wonderfully talented cellist who provided insight into bowing and phrasing for the cello parts.
SKU: PA.H07911
ISBN 9790260104457. 31 x 23.5 cm inches.
Lubos Fiser (1935-1999) was one of the most talented Czech composers of his generation. Born in Prague, he studied at the Prague Conservatoire from 1952-1956 and then at the Academy of Music. He was known to the public for his many film scores but it was his other compositions, many of them written under difficult political conditions, which mark him out as a composer of significance.Fiser's eight piano sonatas have a special place in his oeuvre. Fiser subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fiser created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to Frantisek Maxian, the eighth sonata was written in 1995.Piano Sonata No.1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser's early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser's fellow-student and friend Antonin Jemelik in Theatre D34 on 30 January 1956.The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music, acquisition number 297/2006).
SKU: BT.EMBZ2990
Arioso for cello and piano by Ferenc Farkas (1905-2000) is one of the composer s earliest-known compositions. He wrote the piece in 1926 during his student years, although it was originally intended to be the slow movement of a viola sonata which was never published. Only later did Farkas rework it as a stand-alone work for cello. The composition, like Kodály's Adagio which was published 20 years prior and also written for cello, focuses on the singing melody of the string instrument while simultaneously showing Farkas creative preference for Mediterranean colors and Latin proportion.
SKU: BT.EMBZ627
Gyula Dávid (1913-1977) was one of the most important members of the generation of Hungarian composers who followed Bartók and Kodály. His ?uvre includes stage, orchestral, oratorial, chamber, and solo instrumental works. Although he rarely quoted folk material directly in his music, folksong, popular music and the spirit of the Hungarian musical tradition permeates his works. In the last two decades of his life he wrote atonal and twelve-tone compositions. With his Wind Quintet (composed 1949) he created a genre which plays an important role in the new Hungarian music. Gyula Dávid studied composition with Albert Siklós and Zoltán Kodály at the Academy of Music in Budapest,graduating in 1938. Between 1938 and 1945 he worked in several orchestras as viola player. From 1945 to 1949 he was conductor at Hungarian National Theatre, than he became leader of the Ensemble of the Hungarian Army. From 1961 to his retirement he was professor at the Teacher Training Faculty of the Academy of Music in Budapest. Between 1951 and 1960 he taught wind chamber music, music theory and wind orchestration at the Academy of Music. He was one of the founders of the Hungarian Artists' Union. He was awarded the Erkel Prize (1952, 1955) and the Kossuth Prize (1957).
SKU: HL.14044613
French.
Manuel Serrapi Sanchez <> (1904 - 1972) a ete jusque dans les annees 1960 l'une des references majeures des jeunes guitaristes flamencos, et notamment de Manolo Sanlucar et de Paco de Lucia. L'etude de ses oeuvres est donc indispensable a qui veut comprendre le langage musical de la guitare flamenca contemporaine. Il appartient par son style a <> (predominance des techniques de main droite typiquement flamencas avec rasgueados, jeu en attaque butee du pouce, alternance pouce/index ; strict respect du compas ; gout prononce pour les formes <> du genre Alegrias, Bulerias, Siguiriyas et Soleares), mais se distingue surtout par son inepuisable creativite melodique et par le dynamisme de ses interpretations. Le recueil presente dix compositions emblematiques du genie de Nino Ricardo, en transcription integrale. Le CD regroupe les enregistrements originaux, depuis son premier 78 tour (<> - 1943), jusqu'a son ultime seance soliste (<> - 1965).
SKU: HL.50510337
ISBN 9790080141441. UPC: 073999536621. 9.0x12.0x0.34 inches. Hungarian, English, German.
This volume in the ABC series continues the best traditions of conventional trombone teaching on the one hand and at the same time accommodates to present-day requirements and changing tastes. In concept and subject-matter it embraces the entire material for trombone teaching at the elementary level. It proceeds as far as the 7th position and provides learners with numerous studies, scale exercises and performance pieces. The pieces include many European folk melodies, extracts from classical works well adapted for the trombone, and a number of contemporary compositions written specifically for this instrument. The textual instructions are given in three languages: German, English and Hungarian. The piano accompaniment to this volume is published separetely (14144P)The trombonist Ferenc Steiner was born in 1931. From 1960 to 1991 he was a member of the Hungarian State Opera and the Philharmonic Society as well as the Hungarian Brass Ensemble. Education played a major role in the life of Ferenc Steiner as an author and editor of numerous pedagogical editions. He began teaching at the School of Music in Pecs, then moved on to the College for Officers of the Hungarian Defense Forces and later continued his teaching activity at the Liszt Academy in Budapest until 2001. He has passed away on the 25th of March in 2011.
SKU: HL.14005630
8.25x11.75x0.06 inches.
The Prelude and Fugue In G Minor (Op. 84) was first published in 1960. It is scored for solo Organ.
Craig Seller Lang (1891-1971) was a British composer, organist and musical pedagogue, who was born in New Zealand. He studied at the Royal College of Music before becoming a teacher at Christ's Hospital School. His compositions were mostly written with a student performer in mind. He is best remembered for his seminal educational Organ books, but he also created prolific volumes of material in both sacred and secular choral genres.
SKU: HL.14032248
ISBN 9780853605331. 8.25x11.75x0.505 inches.
Aulis Sallinen was born in 1935 in Salmi on the northern shore of Lake Ladoga (which the Soviet Union claimed in 1944). His early musical experience was playing the violin. Improvising (including jazz) on the piano led him to write his first compositions as a teenager. After studying with Aarre Merikanto and Joonas Kokkonen at the Sibelius Academy, he joined the staff there. He was Administrator of the Finnish Radio Symphony Orchestra (1960-69); Secretary and member of the Board (1958-73), then Chairman (1971-73) of the Finnish Composers' Society; member of the board of TEOSTO (Finnish copyright society) from 1970-84, then Chairman from 1988-90; he also served for several years on the Board of the Finnish National Opera. Here is the Facsimile of the Sixth Symphony that was composed over 1989-1990, and commissioned and first performed by the New Zealand Symphony Orchestra.
SKU: BT.MUSM570366484
English.
Even more than Schoenberg’s or Webern’s, Berg’s music made an enormous impact on me during the late 1950s and early 1960s when studying with Alexander Goehr. Work on this little piece was commenced on the 25th anniversary of Berg’s death, and to commemorate the first performance of his Piano Sonata in April 1911 it was first performed in April 1961, by the pianist and composer Madeleine Coates Russell at a our own ‘society for private performances’ in London. Its shape is simple - a stage-by-stage progression from slow and gentle to a dense climax at double speed, then a return to the spirit, if not the material, of the opening. Its public première, the first of any of mycompositions, was given by Susan Bradshaw at a Macnaghten Concert in November 1961. It was awarded Morley College’s Fricker Composition Prize. - Anthony Gilbert Recorded on Prima Facie PFCD007 'Piano Music' by Richard Casey/Ian Buckle. Duration: 2'30.
SKU: HL.49019413
ISBN 9790001176477. UPC: 841886016729.
The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models - here Baroque movements like gavotte, saraband, gigue - with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire.
SKU: BT.EMBZ3480
Hungarian.
The composer, choirmaster, musicologist and music educator Lajos Bárdos was born on the 1st of October 1899 in Budapest and studied composition with Zoltán Kodály at the Music Academy in Budapest. As choirmaster, he worked with the Palestrina Choir and the Cecilia Choir, which he united in 1941, thus founding the Budapest Choir. From 1928 until his retirement in 1966 he worked as a teacher of the Budapest Music Academy and taught several subjects. His compositional work, consisting mainly of choral works, comprises almost 600 pieces, but he has also composed chamber music.From 1918, Lajos Bárdos was president of the Hungarian Cecilia Society, participated in the direction ofthe Hungarian Singing Association, as well as the Bartók Association. In addition, he founded in cooperation with György Kerényi and Gyula Kertész in 1931, the magazine and the publishing company Magyar Kórus (Hungarian Choir).Lajos Bárdos has passed away on the 18th of November 1986 in Budapest. This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.
SKU: HL.14043771
ISBN 9788759836910. 12.0x16.75x0.44 inches. English.
Three Nocturnal Movements - For Violin Solo, Violoncello Solo And Orchestra by Per Norgard (2015). Based on Remembering Child for Viola and Orchestra(1986). Premiered by Peter Herresthal (violin) and Jakob Kullberg (cello) with Bergen Philharmonic June 6th 2015 in Bergen, Norway. The original version was premiered by Pinchas Zukerman and the St. Paul' s Chamber Orchestra, conducted by Arturo di Mecke, on September 12th 1986. Programme Note: The news of the tragic death of Samantha Smith reached me in the early stages of preparation for the commissioned work for viola and chamber orchestra. Already an admirerer of this childworker for peace and nuclear disarmament, I completed mywork strongly inspired by this unique and uniquely symbolic fate of our time. Music from humble sources - including my composition Beach Poppy , a choral work from 1960 - are woven into the texture of the composition. I was guided by the original meaning of the word remembering (making whole, healing) in opposition to dismembering (tearing apart): The healing power of the child. (Per Norgard).
SKU: BT.EMBZ3426
The composer, choirmaster, musicologist and music educator Lajos Bárdos was born on the 1st of October 1899 in Budapest and studied composition with Zoltán Kodály at the Music Academy in Budapest. As choirmaster, he worked with the Palestrina Choir and the Cecilia Choir, which he united in 1941, thus founding the Budapest Choir. From 1928 until his retirement in 1966 he worked as a teacher of the Budapest Music Academy and taught several subjects. His compositional work, consisting mainly of choral works, comprises almost 600 pieces, but he has also composed chamber music.Lajos Bárdos was from 1918 president of the Hungarian Cecilia Society, participated in the direction of theHungarian Singing Association, as well as the Bartók Association. In addition, he founded in cooperation with György Kerényi and Gyula Kertész in 1931, the magazine and the publishing company Magyar Kórus (Hungarian Choir).Lajos Bárdos has passed away on the 18th of November 1986 in Budapest. Territorial restrictions may apply. Please ask before ordering.
SKU: BT.DHP-1094779-020
9x12 inches.
A flashback is an interesting psychological phenomenon: a seemingly random trigger can bring back long-forgotten memories from the subconscious mind. The composer underwent a similar experience before writing this piece. He was asked to write a piece for The National Youth Fanfare Band in the Netherlands, one which he heard perform many years ago. All of a sudden he remembered Deep Harmony, a piece frequently programmed back then. He used his own flashback-experience as an inspiration to weave an old English hymn into his new composition, much like a musical flashback. The right idea at the right moment, as this piece will prove!Deze compositie is geschreven ter gelegenheid van Een flashback is een psychologisch fenomeen: een hedendaagse belevenis roept zomaar uit het niets herinneringen uit het verleden op. Zo verging het ook Jan de Haan, toen hij een muziekstukvoor het Nationaal Jeugd Fanfare Orkest in opdracht kreeg. Het is het orkest waarin hij zelf ooit speelde. Plotseling viel hem het werk Deep Harmony in, een werk dat hij destijds vaak had gespeeld. Zijn flashback opdit Engelse kerklied nam hij als inspiratiebron en hij verwerkte het in dit nieuwe muziekstuk. De juiste inval op het juiste moment, zoals nu iedereen kan horen!Ein Flashback“ ist ein psychologisches Phänomen: Eine Erfahrung weckt scheinbar aus dem Nichts die Erinnerung an lang Zurückliegendes. So ging es auch Jan de Haan, als er ein Stück für ein Jugendauswahlorchester der Niederlande, in dem er selbst einst mitspielte, schreiben sollte. Plötzlich fiel ihm ein damals oft programmiertes Stück namens Deep Harmony ein und er nahm diesen Flashback als Inspiration, dieses englische Kirchenlied in seinem neuen Werk zu verarbeiten. Der richtige Einfall im richtigen Moment, wie das Resultat beweist!Le flash-back est un phénomène psychologique. Des événements du passé, imprimés dans la mémoire long terme, resurgissent comme une réponse inconsciente et soudaine un stimulus lié une expérience antérieure.Cette œuvre a été composée l’occasion du cinquantième anniversaire de l’Orchestre de Fanfare National des Jeunes des Pays-Bas, une formation talentueuse, dont Jan de Haan fut lui-même membre, au cours des années 1960. Jeune musicien, il éprouvait un profond respect pour le chef d’alors, Piebe Bakker (1929-2002), un homme passionné, avec un style de direction très stimulant. En revenant sur cette période, quarante ans après, Jan de Haan a revécu lesnombreuses interprétations de la pièce Deep Harmony. La mélodie scintillante - extraite d’un cantique anglais - lui est alors apparue comme un flash-back et c’est comme un éclair mental qu’il a choisi de lui redonner vie dans le passage final de cette œuvre.
SKU: HL.44011765
UPC: 884088896621. 9x12 inches. English-German-French-Dutch.
A flashback is an interesting psychological phenomenon: a seemingly random trigger can bring back long-forgotten memories from the subconscious mind. The composer underwent a similar experience before writing this piece. He was asked to write a piece for The National Youth Fanfare Band in the Netherlands, one which he heard perform many years ago. All of a sudden he remembered Deep Harmony, a piece frequently programmed back then. He used his own flashback-experience as an inspiration to weave an old English hymn into his new composition, much like a musical flashback. The right idea at the right moment, as this piece will prove!Een flashback is een psychologisch fenomeen: een hedendaagse belevenis roept zomaar uit het niets herinneringen uit het verleden op. Zo verging het ook Jan de Haan, toen hij een muziekstuk voor het Nationaal Jeugd Fanfare Orkest inopdracht kreeg. Het is het orkest waarin hij zelf ooit speelde. Plotseling viel hem het werk Deep Harmony in, een werk dat hij destijds vaak had gespeeld. Zijn flashback op dit Engelse kerklied nam hij als inspiratiebronen hij verwerkte het in dit nieuwe muziekstuk. De juiste inval op het juiste moment, zoals nu iedereen kan horen!Ein Flashback ist ein psychologisches Phanomen: Eine Erfahrung weckt scheinbar aus dem Nichts die Erinnerung an lang Zurückliegendes. So ging es auch Jan de Haan, als er ein Stück für ein Jugendauswahlorchester der Niederlande, in dem er selbst einst mitspielte, schreiben sollte. Plotzlich fiel ihm ein damals oft programmiertes Stück namens Deep Harmony ein und er nahm diesen Flashback als Inspiration, dieses englische Kirchenlied in seinem neuen Werk zu verarbeiten. Der richtige Einfall im richtigen Moment, wie das Resultat beweist!Le flash-back est un phenomene psychologique. Des evenements du passe, imprimes dans la memoire a long terme, resurgissent comme une reponse inconsciente et soudaine a un stimulus lie a une experience anterieure.Cette œuvre a ete composee a l'occasion du cinquantieme anniversaire de l'Orchestre de Fanfare National des Jeunes des Pays-Bas, une formation talentueuse, dont Jan de Haan fut lui-meme membre, au cours des annees 1960. Jeune musicien, il eprouvait un profond respect pour le chef d'alors, Piebe Bakker (1929-2002), un homme passionne, avec un style de direction tres stimulant. En revenant sur cette periode, quarante ans apres, Jan de Haan a revecu lesnombreuses interpretations de la piece Deep Harmony. La melodie scintillante - extraite d'un cantique anglais - lui est alors apparue comme un flash-back et c'est comme un eclair mental qu'il a choisi de lui redonner vie dans le passage final de cette œuvre.
SKU: HL.4003186
UPC: 884088654030. 9.0x12.0x0.081 inches.
John Barnes Chance composed his landmark work for band, Incantation and Dance, in 1960 while in residence at the high school in Greensboro, North Carolina. Commissioned by the Union County (NC) Honor Band, Prelude and Pursuit pays tribute to this important composition and its North Carolina connection. A haunting chant-like theme played by the clarinets sets the tone for the slow section. Similar to Chance's work, the fast section begins with percussion instruments introducing thematic elements later picked up and developed by the winds. Intensifying rhythmic elements, as well as carefully controlled random playing effects, contribute to an overall sense of excitement and anticipation. Themes are woven throughout various sections of the band before the opening chant motif makes a brief dramatic appearance near the end. A great teaching tool for young players, Prelude and Pursuit also provides a rewarding performance experience. Dur: 4:50.
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