SKU: FA.MFCD007PN
8.27 x 11.69 inches.
Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.Unfortunately, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
SKU: FP.FHC45
ISBN 979-0-57050-352-0.
Cuthbert Harris's pieces are loved by teachers and pupils alike for both their playability and the progressive way they challenge and develop the technique of the improving player. This album of easy pieces takes the player on a tour around the sights of London.
SKU: BT.EMBZ1763
French.
'Two pieces of scherzo character in triple time flank a slower movement in duple time. The first burlesque entitled 'Quarrel' is Márta's piece, Nov. 1908, is a dispute between two opposing characters, with grimaces and taunts. The second burlesque, with the subtitle 'Slightly Tipsy' or 'A bit drunk' is one of Bartók's ingenious programme music miniatures, with characteristic performance indications. The figure appearing in a stumbling rhythm begins to sing indifferently, then continues ruvido (coarsely). By the end of the middle section, to be played in dry tone, our hero collapses completely, and takes leave as a pitiful figure, like the wooden puppet after the dance in The WoodenPrince ballet. ...Finally, the titleless third burlesque, Molto vivo, capriccioso, also stimulates the imagination: one can detect in it the grotesque rush of the last bagatelle, 'My Dancing Sweetheart,' just like the Wooden Prince dance. (HCD 32525 Bartók New Series Vol. 25, László Somfai).
SKU: BT.ESZ-01490700
Italian-English.
Ercole Pasquini (1550 ca-ante 1620), working for many years in Ferrara, then Frescobaldi’s predecessor as organist of the Cappella Giulia, leaves a considerable corpus of keyboard music that identify him as a link between Frescobaldi and Naples. It is half a century since the first critical edition of Ercole Pasquinis keyboard music was published (CEKM, vol. 12). This new edition (in two volumes) appears in the light of subsequent scholarship. It offers new solutions for some troublesome passages. It includes a number of pieces that were not included in the previous edition, but which do seem to have been attributed to Pasquini, as well as unattributed pieces which maywell have been by him. It also takes account of a source (ms. Naples 48, dated ca.1600) which has come to light in the intervening years. This manuscript includes a copy of a Canzona by Pasquini that is older and generally superior to the other surviving copies of this piece. The preface contains detailed discussion of the composers biography, the provenance of the sources, and the performance implications of the notation. Both preface and commentary are in English and Italian. Attivo per molti anni in Ferrara, poi predecessore di Frescobaldi come organista della Cappella Giulia, Ercole Pasquini (1550 ca-ante 1620) lascia un consistente corpus di musica per tastiera che si pone come punto di raccordo tra Frescobaldi el’ambiente napoletano.Dopo mezzo secolo dalla pubblicazione della prima edizione critica della sua musica per tastiera (CEKM, vol. 12), il volume che qui si presenta (primo di due) appare alla luce degli studi più recenti e offre nuove soluzioni per alcuni passaggiproblematici. Comprende altresì una serie di pezzi non inclusi nella precedente edizioni, ma ascritti a Pasquini, così come pezzi non attribuiti, ma probabilmente da lui composti. Si tiene conto anche di una fonte (ms. Napoli 48, databile ca 1600),venuta alla luce in anni recenti, particolarmente autorevole nella trasmissione di una Canzona. La prefazione contiene la presentazione dettagliata della biografia del compositore, la provenienza delle fonti e le questioni notazionali in rapporto all’esecuzione. Prefazione e commento sono in italiano e in inglese.
SKU: HL.132244
UPC: 884088970789.
This volume of the National Edition is published in the Series B which contains works published posthumously. The basis for this edition is taken from the original sources, i.e. autographs, copies and prints corrected by the composer or, if possible, other reliable sources. All the changes and supplementations - if they are necessary - are graphically distinguished from the text. In the Source Commentaries musicologists will find fundamental information about the sources together with an evaluation of the degree of their authenticity, a description of mutual connections (called filiation) and a discussion of the more important divergences as well as the principles of editing the music text of particular works. In the music text, beside Chopin's fingering, we give, in different type, the fingering used in contemporary concert practice and the Performance Commentaries explain all these elements of music notation which may raise doubts today. They include: writing out the ornaments in full, pedalling indications, suggestions as to the realisation of harmonic legato and alternate fingering.
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