SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: CA.220401
ISBN 9790007172220.
BASIS set for use in music teaching: For every youth choir, making the transition from singing in unison to singing in parts is an exciting process. chorissimo! blue, the new volume for equal voices in our successful choir series chorissimo!, accompanies and supports this process. It contains a wide range of carefully-chosen and stylistically varied pieces, presented for flexible use, as well as versatile practical working material, including playback, audio and practice track CDs, and a DVD of video clips. The volume, structured for graded learning, progresses in six steps from unison singing, via canons and quodlibets, to homophonic and polyphonic two- and three-part pieces. Different workshops, some of which feature on the video clips, focus on individual aspects of choral work, such as warm-ups or beatboxing. All the pieces have a piano accompaniment; in addition, some pieces can be accompanied by additional instruments or band. Flexible part material is available for this. As well as the choral arrangements, for all the pieces the main volume contains a piano accompaniment, workshops (including beatboxing, warm-ups) and background information. Score available separately - see item CA.220400.
SKU: BR.OB-5225-30
ISBN 9790004331323. 10 x 12.5 inches.
The publishers of the Reger Complete Edition present Reger's most frequently performed orchestral work as a new addition to the acclaimed PB/OB Library. The critical examination of the main sources - the autograph, Reger's corrections for the first edition, a working copy belonging to the composer, and the Complete Edition - brought forth a number of changes with respect to the previously known material. This is thus the first reliable, practice-oriented edition with orchestral parts available for sale - which is another first for this extensive and important work.
SKU: HL.1412181
UPC: 196288195740. 6.75x10.5x0.036 inches.
The Formosa Singers from Taiwan are one of the world's renowned choral groups. They commission unbelievably creative and beautiful works by local composers. Pavane Publishing is very proud to launch a new choral series with them under the editorial excellence of Cristian Grases. Each edition is published in Taiwanese and IPA and English translations. The first folksong is a harvest song and captures the sounds of people working in the field. The second folksong seeks consolation for the friends and family we miss. The third folksong returns to the harvest with energy and joy in completing the toils in a cheerful dance. Each song is short and together make an excellent cultural choice to bring to your audiences; for advanced high school, community choirs and university ensembles.
SKU: BT.CMP-0642-02-010
For the opening ceremony of the fiftieth anniversary of NATO, James L. Hosay was commissioned to write a special march. The heads of state of all member states of NATO were present at this event. According to instructions, the march had to be a combination of marches in American, Western European and Eastern European style. This way, a concert march was written to outline the history of the greatest alliance ever of countries working together. Now your band and audience can experience this piece of world history in a tribute to the Alliance of the Free!Cette marche est une œuvre de commande composée spécialement par James L. Hosay pour la cérémonie d’ouverture du cinquantième anniversaire de la création de l’OTAN. Les chefs de tous les États membres de l’Alliance Nord-Atlantique étaient présents cet événement. Selon les instructions données au compositeur, l’œuvre devait combiner les différents styles des marches d’Amérique du Nord, d’Europe occidentale et d’Europe de l’Est. partir de ces éléments, James L. Hosay a composé une marche de concert qui illustre l’histoire de la plus grande alliance ayant jamais existé entre des pays collaborant au sein d’une même organisation. Cet hommage rendu l’Alliance des Pays Libres permet de célébrer lors d’un concert une part importante de l’histoire mondiale.
SKU: HL.14037520
ISBN 9780711946866. UPC: 884088579593. 9.25x12.0x0.31 inches.
A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Contents: Chelsea Bridge * Fly Me to the Moon (In Other Words) * Satin Dol * Take the 'A' Train * The Girl from Ipanema.
SKU: BT.ALHE32121
French.
Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this eighth volumeis indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations toremote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royalfamilies.The eighth volume, comprising Sonatas 358-407, includes the popular and recognised Sonatas in B minor (K. 377) and E major (K. 380). Bearing in mind that Domenico Scarlatti was a highly competentand popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essentialaddition to the repertoire of all Keyboard players of the Baroque genre.
SKU: BR.BV-410
ISBN 9783765104107. 5.5 x 8.5 inches. German.
With the publication of Volume 11 in November 1999, Werner Breig's fundamentally new scholarly concept begins to make itself felt more strongly. All editorial differences aside: with respect to their contents, Volumes 9-11 can be neatly categorized as the Tristan letters volumes, the genesis of each act of Tristan und Isolde can be assigned to one specific chronological section. Wagner was working on the first act (beginnung his correspondance with Mathilde Wesendonck at the same time) in Zurich during the period of the letters compiled in Volume 9. Volume 10 plays in Venice and documents the origin of the second act. And in Volume 11, the reader can relive the completion of the epoch-making stage work in the letters Wagner sent from Lucerne. Concerning this Volume we have obtained the following fax by the English Wagner expert Stewart Spencer, who wittily praises Werner Breig's fundamental new concept: There is a general problem of reviewing such magnificent volumes. They are the yardstick by which all other writings on Wagner will be judged. It is like sending someone to inspect the standard metre rule in Paris and asking them to review it. All one can say is that it exists and that it is in a class of its own. I'd like to congratulate you on its publication and thank you most warmly for picking up this edition. (Stewart Spencer, October 11, 2000).
SKU: AP.1-ADV7676
ISBN 9783892217374. UPC: 805095076769. English.
This suite was inspired most notably by the saxophone quartets of Phil Woods and was written in a conscious attempt to wed certain stylistic elements of classical and jazz music. The players are not asked to improvise, but the piece does feature sections that sound spontaneous and freely created. The piece is difficult, but no more so than other quartets, like Glazunov and Desenclos, that are standard repertoire for this instrumentation. Talented high school and all college groups will find success working on this piece. Trance Dance, is a rhythmically grooving 12/8 feel that features the tenor and baritone saxophones.
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.
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