SKU: BR.EB-8032
ISBN 9790004174357. 9 x 12 inches.
In the last year of his life, Felix Mendelssohn Bartholdy (1809-1847) composed the six charming Children's Pieces, op. 72 (EB 8317). In contrast to the collections of children's pieces (by Schumann or Reger, for example), these have remained relatively unknown. Admittedly, however, they here and there demand technical and musical accomplishments that are beyond those to be expexted of beginners and belong to an intermediate stage of instruction. In the present edition, minor re-arrangements and cuts (in op. 72 no. 6) are intended to make the music more accessible to a child's understanding. The Songs without Words presented here are musically more demanding. From the total of 48 pieces, I have selected three slow compositions in which simple, beautiful melodie lines are supported by chorale-like piano textures. True performance of these pieces requires clean polyphonic chord playing and a cultivated pedal technique. The selection of pieces in this edition will, it is hoped, stimulate renewed interest in the piano music of Mendelssohn, which is so neglected today. Heinz Walter, Salzburg, Spring 1979A Selection from 6 Children's Pieces (Op. 72) and Songs without Words.
SKU: HL.14005162
ISBN 9780711987586. 7.0x10.0x0.259 inches.
Love from a Stranger was a 'thriller' starring Ann Harding and Basil Rathbone, based on an Agatha Christie short story, Philomel Cottage. As well as Britten's score, the film also included excerpts from Grieg's Peer Gynt music, and a contemporary dance band. Not all of the present score was used - No. 3, Brighton, was omitted and cuts were made in nos. 5 and 6. In the latter, a savage cut deleted the references to the music of the other numbers in bars 13-20, including the trombone's scale, which alludes to a scene in which a child practices the piano unseen. Britten was not happy with the way his music was used, and this was to remain his only work for the commercial cinema composed in 1936.
SKU: BT.DHP-0971085-120
Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997. Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen. De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende, humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose. Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt. Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose.
SKU: GI.G-008880
English.
** GIA no longer publishes nor sponsors the work of Paul A. Tate. Pieces for which Tate served as an arranger remain on our website as the original work of the composer.
SKU: BR.EB-8029
ISBN 9790004174326. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.
SKU: GI.G-007380
UPC: 641151073804. English.
SKU: BR.OB-14660-19
ISBN 9790004335628. 10 x 12.5 inches.
All conducting scores and orchestral parts as well as piano-vocal scores and choral parts are thus obtainable exclusively from Breitkopf & Hartel. The piano reductions of Beethoven's solo concertos and the study scores (,,Studien-Editionen) remain within the G. Henle Verlag and can be ordered there.
Ludwig van Beethoven komponierte seine Missa solemnis zwischen 1819 und 1822.
Die vorliegende Ausgabe legt als Hauptquelle die Arbeitskopie der Partitur zugrunde die Beethoven wohl unmittelbar nach Fertigstellung der Komposition in Auftrag gab. Sie ist die alteste Abschrift des Werks und die einzige Kopie die das heute unvollstandige Autograph zur Vorlage hatte. Da die Arbeitskopie im Zuge des weiteren Kopierens immer wieder selbst revidiert und korrigiert wurde kommt sie heute einer Fassung letzter Hand am nachsten.
Beethovens komplexe Veroffentlichungsstrategie einer gleichzeitigen Herausgabe in England Frankreich und Deutschland bei der er nach der grosstmoglichen Verbreitung seiner Werke trachtete wirft die schwierige Frage nach der richtigen Datierung der Originalausgabe auf.
So konnte Hans-Werner Kuthen bei seiner Urtextausgabe der Ouverture zu Coriolan nachweisen dass es sich bei der ursprunglich als authentisch bewerteten Quelle vom 1. September 1807 doch um einen Nachdruck Simrocks handelt den Beethoven in einem Brief vom 16. Juni 1807 offensichtlich als ein toleriertes Relikt erwahnt. Verbindlich fur die Neuausgabe ist allein der Wiener Originaldruck des Industriekontors der vor der Simrock-Ausgabe entstanden sein muss. Die Neubewertung der Quellen brachte schliesslich auch Anderungen in der Artikulation mit sich.
SKU: HL.366183
UPC: 810100410483. 3.0x9.0x1.714 inches.
The Heil HH-1 drum mic mount is patent pending, in part, for its utility in mounting microphones to drums securely. The HH-1 offers several options to mount, including via the rim, or to the mounting hoops of the drums. The fully adjustable HH-1 was developed with input from jazz drummer and producer Hunter Herman (hence the HH-1 designation). The HH-1 addresses the need to place drum mics in perfect proximity to the drum to get the desired sound, while ergonomically mounting and remaining fully adjustable. Whether top mounting, or for when you need a little space between the drum & mic, and/or you're mounting from underneath, you can place your mic with confidence. With the HH-1, you can get into the tightest of tight spots, and you can place microphones where they are going to operate at their optimum level of performance. In live situations, the HH-1 lets sound technicians do great work, without fear of mic stands moving around, or worrying about inferior mounts that tend to break. Accepts 1/4″-20 and 5/8″-27 standard mic threads.
SKU: BT.9780713693652
ISBN 9780713693652. English.
This pupil's book provides a lively and comprehensive introduction to the very first steps of playing the violin.All the titles in the Abracadabra series work in conjunction with each other, making them ideal for ensemble,group and whole class tuition. Used alone they remain perfect for individual lessons. The book contains activities, games and pieces that teach the fundamentals of playing the violin : good posture (with and without theinstrument), bow hold, finger position and pitch awareness as well as developing rhythm and notation reading. The CD also aids pitch development with performances of the pieces and backing tracks to motivate pupils topractisepieces and activities outside of their lessons. The basics are constantly reinforced and revisited with the pupils building up to 'performance pieces' that combine and showcase all of the skills they have developed.
SKU: HL.48024362
ISBN 9798350122916. UPC: 888680747886. 9.0x12.0x0.049 inches.
Commissioned by The United States Marine Band and premiered in 1987, Clare Grundman's Concord has remained a staple in the wind band repertoire. The middle section of this work is a beautiful chorale based on the early hymn “America†composed by William Billings. Adapted here as a stand alone piece for younger bands, this is a stunning example of lyric writing and glorious harmonies. Dur: 1:40.
SKU: HL.49045520
ISBN 9790220137198. UPC: 841886028876. 8.25x11.75x0.2 inches.
Locke's Theatre, an orchestral work in three short movements, takes as its departure point incidental music written for Shakespeare's The Tempest by the seventeenth-century English composer Matthew Locke. Aspects of Locke's idiosyncratic and daringly advanced harmonic and rhythmic language were to be adopted (some might say perfected) by his younger friend and protege Henry Purcell. But it is the very rawness and directness of Locke's theatre music that I wished to acknowledge and emulate. In each of my work's three movements - entitled respectively 'The First Music', 'Rustic Music', and 'Curtain Music (with Storm)' - the baroque originals, though very often submerged, remain a constant, shadowy presence. Locke's Theatre was commissioned by the Aldeburgh Festival to mark the centenary of Benjamin Britten's birth. -Ryan Wigglesworth.
SKU: CA.3121148
ISBN M-007-24486-6. German/English.
In 1729 Bach took over the running of the Collegium musicum in Leipzig, founded by Telemann, and continued the tradition of giving concerts at least once a week with this ensemble in Zimmermann's coffee house or, in the summer, in the coffee garden there. The compositions which were probably composed for performance there include Bach's famous Coffee Cantata. The cantata is only superficially about daughter Liesgen's addiction to coffee, in fact it is really about her strict father Schlend rian's educational efforts, which ultimately remain ineffective - but only in Bach's cantata. In Picander's printed libretto it seems as if Schlendrian might prevail, and only in Bach's cantata, which includes two movements setting additional text, is there a twist to the contrary. Might Bach's experiences as a father have come into play here?
SKU: LO.10-5584MD
ISBN 9780787773939.
Elegant and refined, this arrangement of When I Survey the Wondrous Cross blends the timeless hymn with traditional and contemporary harmonies and instrumentation. This setting features artisically arranged, heartfelt choral writing while remaining true to the reverance of the hymn.
SKU: CA.3108064
ISBN 9790007206826. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.
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