SKU: BR.OB-5302-19
ISBN 9790004340035. 10 x 12.5 inches.
Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!
SKU: CF.CM9711
ISBN 9781491160060. UPC: 680160918669. Key: G minor. English. English Carol.
Coventry Carol was first performed during the sixteenth century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse to tell the tragic story depicted in the poem. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice. .Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879. The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale. The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.Coventry Carol was first performed during the sixteenth Century in Coventry, England as a part of the Pageant of the Shearman and Tailors. It was a lament by the mothers of children taken in the Biblical Slaughter of the Innocents. Robert Croo is credited with writing the lyrics in 1534, and the music was written by an unknown composer in 1591. The original manuscript of Robert Croo's poem lasted until a fire destroyed it in 1879.The underlying mixed meter feeling of this arrangement is meant to help the piece build momentum to the third verse, helping to tell the tragic story depicted in the poem. The repeating motif is based around the altos' descending chromatic scale.The repeated motif is a descending chromatic scale and can be found throughout all three parts. Teaching a descending chromatic scale from G3 down to D3 will help the basses find their entrances throughout the chorus of the piece. The tenors have the same descending line up an octave in the cued notes starting at m. 49 and can sing in octaves with the basses for practice.
SKU: BR.OB-5302-30
ISBN 9790004340066. 10 x 12.5 inches.
SKU: BT.AMP-056-010
As the title suggests, this piece comprises a set of variations on an original chorale,which is presented in the opening bars.The chorale uses the dark middle and lower sections of the band and is extended with minor variations until a pause leads to the first real variation, marked Vivo. This is in the form of a moto perpetuo. The second variation is a beautiful Andante introduced by a solo clarinet. Following a full band climax the final variation opens with quiet, nervous energy until its main theme is introduced.The chorale makes a brief appearance until the main theme reappears. This leads to a triumphant final augmented statement of the chorale theme, decorated by theflorid clarinet theme in the upper woodwinds. A dazzling new concert work. Zoals de titel al aangeeft, bestaat het stuk uit een aantal variaties op een oorspronkelijk koraal, dat aan het begin wordt ge ntroduceerd. Het koraal, stevig verankerd in c mineur, komt naar voren in de donkere midden- en lage sectiesvan het orkest en wordt uitgebouwd met variaties in mineur, totdat een korte pauze de overgang vormt naar de eerste echte variatie, Vivo getiteld. Dit is een moto perpetuo. De tweede variatie, een krachtige Andante, introduceerteen soloklarinet. Na een climax in het hele orkest vangt de laatste variatie aan met een stille, nerveuze energie totdat het hoofdthema naar voren komt. Het koraal duikt even op totdat het hoofdthema weer verschijnt. Dit leidtnaar een glorierijke laatste reprise van het koraalthema in verbreding, omspeeld met het zwierige klarinetthema in het hoge hout. Een verbluffend nieuw concertwerk.In drei sehr unterschiedlichen Variationen kommen in diesem Werk alle Register des Blasorchesters zum Zug: Die mittleren und tieferen Register stellen den originalen Choral in Moll vor, darauf folgt die erste, lyrische Variation im Tenorregister. Eine Solo-Klarinette präsentiert die metrische zweite Variation, abgelöst vom gesamten Blasorchester. Die hohen Holzbläser spielen eine wichtige Rolle in der dritten Variation, die zunächst verhalten einsetztt, dann aber das Werk zu einem triiumphalen Schluss führt. Ein interessantes Werk, das keine Wünsche bei Musikern oder Zuhörern offen lässt!Chorale and Variations est une oeuvre de commande pour l’École Intercommunale de Gaillon Aubevoye en France (Dir. : Thierry Patel). Cette pièce est structurée selon la forme du choral suivi de trois variations sur le thème. Ancré dans la tonalité de Do mineur, le choral se développe dans les registres médium et grave de l’orchestre puis est élargi avec une succession de variations lyriques, florissantes, triomphantes et ornementées.
SKU: BR.OB-5302-23
ISBN 9790004340042. 10 x 12.5 inches.
SKU: BT.AMP-056-140
As the title suggests, this piece comprises a set of variations on an original chorale,which is presented in the opening bars.The chorale uses the dark middle and lower sections of the band and is extended with minor variations until a pause leads to the first real variation, marked Vivo. This is in the form of a moto perpetuo. The second variation is a beautiful Andante introduced by a solo clarinet. Following a full band climax the final variation opens with quiet, nervous energy until its main theme is introduced.The chorale makes a brief appearance until the main theme reappears. This leads to a triumphant final augmented statement of the chorale theme, decorated by theflorid clarinet theme in the upper woodwinds. A dazzling new concert work. Zoals de titel al aangeeft, bestaat het stuk uit een aantal variaties op een oorspronkelijk koraal, dat aan het begin wordt ge ntroduceerd. Het koraal, stevig verankerd in c mineur, komt naar voren in de donkere midden- en lage sectiesvan het orkest en wordt uitgebouwd met variaties in mineur, totdat een korte pauze de overgang vormt naar de eerste echte variatie, Vivo getiteld. Dit is een moto perpetuo. De tweede variatie, een krachtige Andante, introduceerteen soloklarinet. Na een climax in het hele orkest vangt de laatste variatie aan met een stille, nerveuze energie totdat het hoofdthema naar voren komt. Het koraal duikt even op totdat het hoofdthema weer verschijnt. Dit leidtnaar een glorierijke laatste reprise van het koraalthema in verbreding, omspeeld met het zwierige klarinetthema in het hoge hout. Een verbluffend nieuw concertwerk.In drei sehr unterschiedlichen Variationen kommen in diesem Werk alle Register des Blasorchesters zum Zug: Die mittleren und tieferen Register stellen den originalen Choral in Moll vor, darauf folgt die erste, lyrische Variation im Tenorregister. Eine Solo-Klarinette präsentiert die metrische zweite Variation, abgelöst vom gesamten Blasorchester. Die hohen Holzbläser spielen eine wichtige Rolle in der dritten Variation, die zunächst verhalten einsetzt, dann aber das Werk zu einem triiumphalen Schluss führt. Ein interessantes Werk, das keine Wünsche bei Musikern oder Zuhörern offen lässt!Chorale and Variations est une oeuvre de commande pour l’École Intercommunale de Gaillon Aubevoye en France (Dir. : Thierry Patel). Cette pièce est structurée selon la forme du choral suivi de trois variations sur le thème. Ancré dans la tonalité de Do mineur, le choral se développe dans les registres médium et grave de l’orchestre puis est élargi avec une succession de variations lyriques, florissantes, triomphantes et ornementées.
SKU: BR.OB-5302-16
ISBN 9790004340028. 10 x 12.5 inches.
SKU: GI.G-MCL
English.
For the teacher of instrumental music classes, individual differences among students are inevitable. Unfortunately, the lack of flexible materials frequently forces teachers to adopt a quasi-instructional procedure best described as lockstep, where all students in the class rehearse each exercise until the slow members of the class succeed or until the teacher gives up. The Individualized Instructor was designed with the expectation that students are different. With this method, high-, average-, and low-achieving students in a class are able to progress simultaneously at their own rate according to their interest and ability. In addition, the flexibility of the instructional format often allows twelve or more students to perform different musical material simultaneously, thereby eliminating the “follow the leader†approach to music learning. All study materials in the series are musical. Nonmusical exercises are excluded in favor of folk song literature, musical rounds, and musical ensembles. Furthermore, The Individualized Instructor encourages students to think about their music: to analyze unfamiliar material, generalize previously learned concepts and skills, and synthesize all elements into a musically proficient performance. In addition, this series develops many fundamentals (tonality, phrasing, tempo, and musical style) through the use of the singing voice. Singing best provides the “musical†experience that, subsequently, can be applied to the development of musically sensitive instrumental performance. Books 1, 2, and 3 and the supplementary books ensure that these fundamental ideas are carried well beyond the first year of instruction.
SKU: BR.OB-5363-30
150 years of publication history had to elapse until a music text of the Mass in B minor was published that truly goes back to Johann Sebastian Bach's definitive version, inasmuch as it can be determined.
ISBN 9790004338568. 10 x 12.5 inches.
The new Breitkopf Urtext edition by Joshua Rifkin draws on all relevant sources to restore the Mass to the state in which Bach left it for posterity. This means, first, a clear separation of the Kyrie and Gloria from the earlier Missa of 1733. Moreover, in the Credo the Symbolum Nicenum Rifkin has faced the challenge of sweeping away the overlay of additions by C.P.E. Bach and eliminating his alterations more thoroughly than Friedrich Smend had in the Neue Bach Ausgabe of 1954 and in later editions as well.The NBA edition of this work has long been thought to be unsatisfactory, so in this case Breitkopf study score is better as well as a few euros cheaper. (Early Music Review)150 years of publication history had to elapse until a music text of the Mass in B minor was published that truly goes back to Johann Sebastian Bach's definitive version, inasmuch as it can be determined.
SKU: GI.G-MTR
SKU: BT.AMP-452-140
English-German-French-Dutch.
Song of Friendship was commissioned by the Concert Band of Jumonji University, Saitama, Japan and their conductor, Yutaka Nishida. The commission marked the 50th year of Yutaka Nishida’s involvement with bands as a player, conductor and radio presenter. The ceremonial Song of Friendship opens with an extended fanfare, largely featuring the brass section. This leads to the main theme, which develops slowly until it is played by the full band. A change of key signals a contrasting central section containing a quiet woodwind chorale, which grows until the return of the triumphant sounding main theme. Elements of the opening fanfare then close the work.Song of Friendship werd geschreven voor het harmonieorkest van de Jumonji University in Saitama, Japan, en dirigent Yutaka Nishida. De opdracht markeerde tevens het vijftigste jaar dat Yutaka Nishida al actief was met blaasorkesten als muzikant, dirigent en radiopresentator. Song of Friendship opent met een uitgebreide fanfare waarin vooral de kopersectie aan het woord is. Dit gedeelte leidt naar het hoofdthema, dat geleidelijk verder wordt uitgewerkt tot het door het volledige orkest wordt gespeeld. Een modulatie kondigt een contrasterend middendeel aan, met een rustig koraal in het hout dat zich verder ontwikkelt tot aan de terugkeer van hettriomfantelijk klinkende hoofdthema. Het werk wordt afgesloten met elementen uit de openingsfanfare. Song of Friendship wurde vom Blasorchester der Jumonji University in Saitama (Japan) und seinem Dirigenten Yutaka Nishida in Auftrag gegeben. Das Auftragswerk steht auch für Yutaka Nishidas über 50-jähriges Engagement im Bereich der Blasmusik als Musiker, Dirigent und Radiomoderator. Das feierliche Stück Song of Friendship beginnt mit einer ausgedehnten Fanfare, die vor allem die Blechbläser herausstellt. Diese führt zum Hauptthema, das sich langsam entwickelt, bis es schließlich vom gesamten Orchester gespielt wird. Ein Tonartwechsel leitet den gegensätzlichen Hauptteil mit einem ruhigen Choral in den Holzbläsern ein, der sich bis zur Wiederkehr destriumphierenden Hauptthemas langsam weiterentwickelt. Das Werk endet mit Elementen aus der Eröffnungsfanfare. Song of Friendship est une commande de l’orchestre d’harmonie de l’Université de Jumonji, Saitama, Japon, et de leur chef Yutaka Nishida. La commande marque aussi la 50e année de l’engagement de Yutaka Nishida avec des bands, que ce soit comme joueur, chef d’orchestre ou présentateur radio. Le cérémonial Song of Friendship commence par une longue fanfare, mettant en scène en particulier les cuivres. Ceci nous mène au thème principal qui se développe ensuite graduellement jusqu’ une interprétation par l’ensemble entier. Une modulation signale le début de la section centrale contrastante. Elle se caractérise par un choral calme pour les bois qui se développeensuite jusqu’au retour du triomphant thème principal. Des éléments de la fanfare du début finissent alors l’œuvre. Il celebrativo Song of Friendship si apre con un esteso tema di fanfara che presenta ampiamente la sezione degli ottoni. Questo conduce al tema principale, che si sviluppa gradualmente fino all’esecuzione da parte di tutta la banda. Un cambio di tonalit anticipa una contrastante sezione centrale che contiene un calmo corale di legni che cresce fino al ritorno trionfante del tema principale. Gli elementi musicali della fanfara d’apertura concludono l’opera.
SKU: CA.1037909
ISBN 9790007190941. Key: E flat major. Language: German.
Since its first performance in Berlin in 1755, Carl Heinrich Graun's empfindsame (sensible) Passion Cantata Der Tod Jesu, with a libretto by Karl Wilhelm Ramler had long been one of the most frequently performed works in this genre. Until the end of the 19th century this work was able to maintain its position in the repertoire of numerous oratorio societies and singing academies (especially the Berliner Sing-Akademie). It was often given equal billing with Bach's passions, until finally, in the second half of the 19th century Bach's works became more predominant. With the publication of the present critical new edition (the first since it was first published in 1760), Der Tod Jesu is once again available for sale to the musical public. This makes accessible an epoch-making work which in its time set the standard for settings of the Passion. Score and parts available separately - see item CA.1037900.
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