SKU: GI.G-8864
UPC: 785147886433. English.
New from Rory Cooney comes a glorious collection of music for the Advent and Christmas seasons. Many of the selections in this collection use tunes gathered from the traditions of various European cultures. Rory arranges these beautiful melodies and adds his own evocative texts, creating nostalgic yet new expres- sions of the Christmas story. The jewel in this Christmas crown is surely Rory’s SAB arrangement of “In the Bleak Midwinter.†It begins gently, quoting the first stanza of the Christina R ossetti text, then branches out into Rory’s own moving exploration of Christ’s incarnation. The “Christmas Gloriaâ€â€” based on the familiar French carol “Angels We Have Heard on Highâ€â€”employs the text from the 2010 R evised Order of Mass. In this arrangement the third stanza of the prayer soars above the final refrain as an exhilarating soprano descant. Much of the newer music in this collection can be done a cappella. To enhance the texture, include the piano accompaniment, strings, and flute. Perfect for any choir large or small, the songs in Like No God We Had Imagined will add sparkle to your holiday liturgies. Contents: Friends in Christ, Rejoice, My Soul Gives Glory, The Advent Herald, Sing We Maranatha, In the Bleak Midwinter, Tomorrow Shall Be My Dancing Day, Still, Still, Still, In the Stillness of the Night, Christmas Gloria, Psalm 96: Christmas Midnight, Song at the Manger, Carol of the Stranger, Lullaby, Little One, Rise Up, Shepherd, and Follow, I Saw Three Ships, Light in the Darkness.
SKU: HL.14041487
ISBN 9781849386883. UPC: 884088590352. 9x12 inches.
A superb 160 page volume packed with solo Piano arrangements of great American music from the 19th to 20th centuries. By composers including Barber, MacDowell, Sousa, Joplin, Bacharach and Glass.A specially-writtenforeword places the music in historical and national context and includes biographical details of many of the featured composers. The arrangements are intended for the intermediate to advanced pianist, but the book will give anyplayer a unique practical and historical insight into America's immense contribution to the international world of music.
SKU: HL.4008659
UPC: 196288189886.
Franco Cesarini has written this piece for concert band as a tribute to the town of Bisacquino (Palermo, Italy) of which he is an honorary citizen. The Suite Siciliana, a 7-movement piece - Intrada, Pavana,Gavotta, Barcarola, Tambourin, Siciliana, Tarantella - is characterised by contrasting rhythms and tempo, and consists of these 7 dances. The musical form, typical of the Baroque period, refers to some traditional expressions of art from the land of Sicily: ranging from the rich architecture of the Sicilian Baroque tothe colorful majolica ceramics and the characteristic puppets, the “pupiâ€, which narrate a secular tradition. A full immersion intoancient traditions of this beautiful island!
SKU: BT.DHP-1084628-400
ISBN 9789043131001. 9x12 inches. English-German-French-Dutch.
The 25 pieces in Easy Pop Studies feature a number of basic techniques from pop music. Various styles from well-known pop artists are explored in turn. Titles like John & Paul and Jack’s Son speak for themselves. This book is a great preparation for Beatmu_ller, also by Fons van Gorp. Although these are solo pieces, playing along with the enclosed CD is good for developing the right ‘drive’ and ‘beat’. De 25 stukken in Easy Pop Studies bevatten een aantal basistechnieken uit de popmuziek. Diverse stijlen van bekende popartiesten passeren de revue. Titels als John & Paul en Jack's Son spreken voor zich. Dit boek is een uitstekendevoorbereiding op Beatmüller, eveneens van Fons van Gorp. Hoewel het om solostukken gaat, is meespelen met de bijgevoegde cd goed voor het ontwikkelen van de juiste ‘drive' en ‘beat'.Die 25 Stücke in Easy Pop Studies beinhalten eine Reihe von Basistechniken aus der Popmusik. Nacheinander werden verschiedene Stile bekannter Popkünstler erforscht - in viel sagenden Titeln, wie John & Paul und Jack’s Son. Dieses Buch ist eine großartige Vorbereitung auf Beatmüller, das ebenfalls aus der Feder von Fons van Gorp stammt. Obwohl es sich um Solostücke handelt, hilft das Mitspielen zur beiliegenden CD sehr gut dabei, den richtigen ‚Drive‘ und ‚Beat‘ zu entwickeln.I 25 brani di questa raccolta contengono elementi fondamentali caratteristici della musica pop. Easy Pop Studies esplora gli stili dei più grandi artisti pop - beat, rock, funk, dance e ballade. Tutti i brani possono essere eseguiti in solo. L'accompagnamento sul CD è comunque utile per sviluppare il senso del ritmo e il corretto movimento.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: BR.BES-3074
ISBN 9790004610008. 11.5 x 8.5 inches. Russian / French / German / English.
Duration: full eveningText by Modest Tchaikovsky after Alexander Puschkins NovelTranslation: German (W. Ebermann/M. Koerth and collaboration by H. Seeger); (R. Lauckner) Place and time: Petersburg, End of the 18th CenturyCharacters: Hermann (tenor) - Count Tomskij (baritone) - Prince Jeletzkij (baritone) -Czekalinskij (tenor) - Ssurin (bass) - Tschaplitzkij (tenor) - Narumoff (bass) - The Counts Wife (mezzo-soprano) - Lisa (soprano) - Pauline (alto) - Governess (mezzo-soprano) - Mascha (soprano) - A Steward (tenor) Characters of the intermezzo: ChloE (soprano) - Daphnis (Pauline) (alto) - Plutus (Count Tomskij) (baritone) By the time Tchaikovsky began writing Pique Dame, he had already composed eight operas and had very well developed ideas about the drama and aesthetics of the genre. Gustav Mahler, who judged Pique Dame to be Tchaikovskys most mature and artistically solid musical work, is certainly not alone with his opinion. A confession made by Tchaikovsky a few months before his death show to want extent the composer, after an initial period of hesitation, was possessed by his work on this opera: I composed it with uncommon passion and enthusiasm, suffered from everything that happens in it and related to it with every fibre in my body (it went so far that I even feared the apparition of the ghost for a while). Now I hope that all my enthusiasm, excitement and devotion will find an echo in the hearts of receptive listeners.
SKU: HL.48025042
ISBN 9781705154212. UPC: 196288021711.
The work, which the composer counts among her favourite pieces, was inspired by the life and work of Marguerite Duras. In her play of the same name, a Flemish woman goes to Saigon at the beginning of the 20th century, marries a civil servant and has two children.After her husband's death, she also works as a piano player at the local 'Eden Cinema'. Eden Cinema, which is 'to be played like a traditional piano piece from the Romantic period' according to the composer, sounds poetic, but also cool, funny and extremely modern. Motif repetitions and ostinatos play a major role, as they do with Duras. In addition, quotations appear, literal ones from Beethoven's Hammerklavier Sonata as well as vague echoes of dance rhythms and commonplace music as used in silent film theatres. Thepreparation of the piano strings - metal parts on the high ones, rubber pieces on the low ones - creates a tonal patina and the impression of the past - 'in connection with Duras also recognizable as traumas sedimented in the subconscious, whose indistinct traces obsessively push to the surface' (Eckhard Weber).
SKU: SU.00220547
A comprehensive and unparalleled collection that brings together both familiar and lesser-known vocal and rhythmic exercises, vocalizes, and methods from the 18th, 19th and early 20th century by 19 pedagogical masters, including: Abt, Concone, Dannhauser, Lablache, Lamperti, Marchesi, Rossini, Sieber, Vaccai, and Viardot. Configured in alternate keys for all voice types; suitable for all technical levels Also includes: composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 3000+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: HL.48021088
UPC: 884088649074. 7.25x10.25x0.169 inches.
Britannia was written in 1994 as a celebration of a major force in our musical life, the British orchestra. The work fulfils a commission from British Telecommunications plc with the Association of British Orchestras as part of the BT Celebration Series, and provides all the major UK orchestras with a new concert overture for performance in the 1994/95 season. Britannia is a ten-minute orchestral fantasy based on patriotic themes. There is no programme of story as such but the tapestry ofpopular melodies and resonant allusions, given their new and unfamiliar contexts, may provoke some surprising scenarios in the mind of the listener, particularly at a time when petty chauvinism threatens to rear up once again throughout Europe. The piece grows outof a short sketch written earlier this year, Memoire Imperiale, which is based on a march tune by General Reid, an 18th century British army officer who established the music department at Edinburgh University. This theme and the imperial themes of Elgar andArne are thrown into a volatile concoction with other materials an Irish reel (which becomes a jig), a Cockney drinking song, other march tunes and a hazy Celtic modality. All the main ideas are presented in a quick and stark succession during the fast opening section. The slow middle part begins with aserene canon which is gradually undermined by military allusions on brass and percussion. This confrontation leads to the works climax followed by an unsettled coda. Britannia is dedicated to Libby MacNamara of the Association of British Orchestras.
SKU: BT.CM168
Twelve Astrological Preludes were written over a period of roughly two years and several were broadcast on BBC Radio 2's Friday Night is Music Night as well as in other concerts. Aquarius was written in 1994 as a filler to apopular BBC solo piano series of the time called At the Piano. It was named Aquarius for programming purposes and as Elms left the studio the producer called after him 'Only eleven to go' and so Twelve Astrological Preludes cameinto being.The preludes, which run in the usual cycle, are based upon two melodic strands and there is one piece in each of the twelve major keys. The character and style of each prelude alludes to certaincharactertraits of its particular birth sign and each piece bears the initials of a friend born under that particular sign. Each prelude is prefaced by a printed description of some of the general characteristics deemed to beassociated with that sign. These are, of course, generalisations! Some preludes show a little deference to some of my favourite 'masters'.Elms has recorded Twelve Astrological Preludes for the Herald label and they areavailable on the CD Moody Moves together with other pieces of his chamber music including the piano sextet from which the CD takes its name. More information is available at masterkeyboards.co.uk.
SKU: FG.55011-906-2
ISBN 9790550119062.
Harri Wessman's Summer Variations for viola and piano (1998) exploites the rich and romantic sound of the viola and enjoys the many shades of summer days. It is dedicated to violist Yuri Gandelsman, who premiered the suite with Risto Lauriala 15th June 1998.Duration: c. 11'Movements:1. Summer theme2. What is this?3. Pizzicato4. Con sordino5. Stile concitato ostinato6. Tango7. FinaleHarri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. Wessman is particularly preoccupied with the ability of music to express emotions, an interest which has led him to study the so-called doctrine of the affections and the musical rhetoric of the baroque era. His Eine kleine Figurenlehre for wind quartet and piano is a playful application of a set of baroque musical figures.His output is dominated by chamber and vocal music as well as a number of concertos for various instruments such as the Concerto for Trumpet and Orchestra and the Serenade for Piano and String Orchestra. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. He has even tailored some solo and chamber works for young musicians that he personally knows: e.g. Five Trombone Pieces for Minna Kajander (1992), Five Horn Pieces for Jenni Kuronen (1993), Five Piano Etudes for Tiina Karakorpi, Five Trumpet Pieces for Alevtina Parland and Five Double Bass Pieces for Amanda Thieme. Other chamber and solo pieces include Pan and the Nymph Pitys (1979) for flute and guitar, Three Caprices for Konstantin Weitz (1994) for solo violin and Capriccio for wind ensemble (1989).
SKU: CA.3119907
ISBN 9790007165727. Language: German/English. Text: Lehms, Georg Christian. Text by Georg Christian Lehms.
Bach's cantata for solo soprano Mein Herze schwimmt im Blut was written during the summer of 1714 for the Weimar Court service on the 11th Sunday after Trinity. The cantata text by the Darmstadt Court poet Georg Christian Lehms (1684-1717), based on the well-known parable of the Pharisee and the publican, takes on extraordinary potency and intensity of expression in Bach's setting. Bach performed this cantata several times, in Weimar, and also during his years at Cothen aud Leipzig, meanwhile making various alterations. Our publication is based principally on the Leipzig version of 1723, whose instrumentation includes, in addition to the solo oboe and the customary strings and continuo, a violoncello piccolo. The appendix to our edition presents variants for certain movements from Bach's earlier performances, including a Cothen version with obbligato viola da gamba which is particularly interesting for present-day practice. Score available separately - see item CA.3119900.
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