SKU: HL.50601627
The Works of Giuseppe Verdi is the first critical edition of the composer's oeuvre. Together with his operas, the series offers his songs, choral music and sacred pieces, and string quartet and other instrumental works. This edition of Rigoletto is based on Verdi's autograph score and an array of additional sources, including contemporary manuscript copies, early editions, and performing parts. It also takes into consideration the abbozzo published in facsimile in 1941, an autograph manuscript containing sketch fragments and a complete continuity draft of the opera. The edition identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. In addition, it reinstates theoriginal reading of several lines of the libretto, which had been censored prior to the opera's first performance in Venice in 1851.Martin Chusid's extensive introduction and critical commentary to the score discuss this and other matters of censorship and shed light on the genesis, sources, and performance history of Rigoletto.
SKU: BR.EB-9425
ISBN 9790004189023. 9 x 12 inches.
Text by Franc-NohainPlace and time: The plot takes place in Toledo, in the 18th centuryCharacters: Concepcion, Torquemada's wife (Soprano) - Gonzalve, bachelier (Tenor) - Torquemada, clockmaker (Trial (Tenor)) - Ramiro, muleteer (Baryton-Martin) - Don Inigo Gomez, banker (Bassbuffo)Maurice Ravel gives free rein to his enthusiasm for Spain in this one-hour comedy (L'Heure!). Dances such as Jota, Habanera, Seguidilla and Malaguena shimmer through, and in places Bizet's dramatic Carmen is travestied with admiration. Based on first editions and the autographs, Jean-Francois Monnard presents in L'Heure espagnole a meticulous Urtext that corrects in detail all previous shortcomings, and, especially in the vocal parts, resolves the discrepancies between the piano vocal score published in 1908 and the full score published three years later. The appendix to the full score and piano vocal score includes a new German/English prose translation of the libretto.
SKU: PR.144407270
UPC: 680160681891. 9 x 12 inches.
My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.
SKU: HL.14019201
ISBN 9780711941625. UPC: 884088434991. 9x12 inches. English.
It was Christmas Eve, and the frost air was cold and still. The house where the kittens lived was snug and warm. In a twinkling of an eye everything changed. One little kitten dashed out into the night through the unexpectedly opened front door. The search for the lost kitten takes us outside, where we encounter sneaky jumping mice, howling alley cats, snuffling hedgehogs and quacking ducks. In the end, all is happily resolved! Opportunities for mime, movement and dance. Duration: 25 mins. Script available in student book. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: BR.OB-5512-30
For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977.
ISBN 9790004339053. 10 x 12.5 inches.
Urtext virgin territory: the overture Leonore No. 3 To this day, the two major Fidelio overtures are still performed from music texts that go back to the imprecise and corrupted first editions of the parts. In the meantime, however, the state of the sources for both works has significantly improved through many new findings. For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977. This score was most likely used by the conductor in 1806, and it helps clear up the previously unresolved textual problems of the work, such as, for example, the famous Presto passage in m. 514.For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977.
SKU: PO.ME11
ISBN 9780958206518.
Walker drew inspiration for this short, slow movement from I Thirst being the the fifth of Christ's last seven words from the cross - cries of dereliction and comfort that are meditated upon annually at Passiontide. I Thirst is a ritual of solo melody, homophony and biting figuration whose dessication is, in due course, quenched by waves of string harmonics. The work's pervading instability is resolved with the subduing power of melody finally bringing balance.
SKU: CF.YPS106F
ISBN 9780825887772. UPC: 798408087777. 9x12 inches.
A lush and musically expressive ballad for band that pulls at your heart strings, Reminiscence is tender and emotionally charged with musical tension that resolves beautifully at the end. Bill Calhoun has become a composer you can trust to write music of a very high quality.
SKU: PR.490011790
ISBN 9781491121689. UPC: 680160641147.
A short, two-minute Portrait, which, while not overly demanding of skill, builds dynamically and then resolves quietly.
SKU: HL.4007251
UPC: 840126969504. 9.0x12.0x0.126 inches.
“Viral†by Alex Shapiro is an energetic, percussively driven seven-part Rondo. Light is trying to break through the weight of the times in a frenzied and unresolved push to the final exuberant, insistent notes. This is one of four movements in Suspended, a piece is composed in the tradition of an 18th century Classical symphony: four contrasting movements which serve specific functions and reveal a story. The work begins in absolute rage and chaos, then alternates between moments of grief and bleakness. Grim reality shifts to a macabre, circus-like insanity, and by the end, flickers of genuine hope contrast a pervasive sense of dread, and finally arrive at more optimistic possibilities. To perform the piece, you'll need an audio system capable of playing the prerecorded audio tracks from a laptop computer via a small digital audio interface connected to an audio mixer. Download information is provided in the printed piece.
SKU: PR.14440727S
UPC: 680160681907. 9 x 12 inches.
SKU: CA.967400
ISBN 9790007187484. Language: Latin.
With the publication of his hypnotic Pater noster, Carus proudly presents Jacek Sykulski as a new composer in the Carus Contemporary series. Whilst Sykulski has achieved worldwide success as Director of the Academic Choir at the University of Poznan and the Poznan Boys' Choir, as a composer he has remained a well-guarded secret until now. In his sacred compositions he combines in music the deeply Catholic-imbued tradition of his country with his own compositional technique, characterized by a tremendous vocal sensuousness of sound and a conscious use of tonality enriched by dissonance. His Pater noster was composed in 2009 and revised in 2015 for a performance by the RIAS Kammerchor in Berlin. The first section of this three-part work for eight-part choir (tenors and sopranos also split into three) begins with the invocation Pater noster homophonically in A minor. This then introduces the Gregorian liturgical melody of the Our Father canonically and aleatorically, like a contemplative congregational hymn. The middle section calls out Dein Reich komme in increasingly insistent rhythmic declamation, more demanding, with hypnotic repetitions and intensifications. In the last section, Sykulski returns to the opening harmonies, but now a semitone lower on A flat, followed by an intensification at the words sed libera nos a malo - and delivery us from evil once more; this ends unresolved in a diatonic cluster on A flat as the paradigm of our imperfect earthly existence. The eight-minute unaccompanied composition is extremely singable, impressive, and not difficult to master. The piece is suitable for use in the liturgy, as well as in concerts and competitions.
SKU: AP.1-ADV7450
UPC: 805095074505. English.
Each movement (sold separately) of this suite presents an authentic Latin musical form and should be carefully approached with an indigenous flavor, sensibility, and attitude. The beginning of this movement opens with pronounced dissonance and polytonality before developing into a fugue statement that resolves with excitement and vigor.
SKU: PR.144405160
UPC: 680160667826. 9 x 12 inches.
In 1979, Martin produced a set of three quintets, in consideration of Gorky's piece Nighttime Enigma Nostalgia. Each is scored for flute, clarinet, violin, cello, and piano. As the title suggests, the music is in a state of perpetual questioning using a variety of approaches. For example, Enigma opens using ostinati (plural of ostinato) that do not match in length, like a staircase with each step a different height. Additionally, the music has sudden starts and stops, again unexplained. There are dramatic and powerful explosive passages that are interrupted. The technique, used to create this feeling of a perplexed music world where things seem often not to make sense and to be left unresolved, is called in poetry and literature, anticlimax. In Enigma, the music suggests one direction; then refuses to continue, striking out in another direction. Artists use approaches such as this to force themselves into creative circumstances that they otherwise might not have discovered. (From the performance notes.).
SKU: HL.49017992
ISBN 9790001168977. UPC: 884088601867. 8.25x11.75x0.123 inches.
The brief Fantasia gregoriana, op.65, is based on the Gregorian Easter Hallelujah. Like a mosaic, the individual heterogenic episodes, lyrical, dance-like, hymnal and dramatic in turn, are combined through the permanent presence of the theme into a unified whole.The Gregorian Hallelujah is present as a type of mode in every bar of the work. The subdued introduction, characterised by the tritonically transposed structure of the original material, is followed by a sharply accentuated presentation of the theme in the bass. Over the partially engarlanded resolved variants, a first bitonal climax is reached (F minor and D major simultaneously). The dramatic development is repeated, interspersed with arioso interruptions, until the main idea is brought to culmination in brilliant instrumentation. The final chord consists of all notes of the theme.
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