SKU: BA.BA08809
ISBN 9790006568970. 31 x 24.3 cm inches. Key: B-flat major. Preface: Gudula Schutz.
Mozart composed his two â??Lodron Serenadesâ? for open-air performances on the name day of Countess Antonia Lodron in June 1776 and 1777. Their bright â??al frescoâ? character is immediately recognisable. Alfred Einstein considered these two divertimentos to be â??among the purest, gayest, most satisfying, and most perfect that ever assumed musical formâ?.For both works Mozart chose an ensemble of two horns, two violins, viola and bass instruments. However, the second Lodron Serenade, the Divertimento in B-flat major K. 287, stands out from this sextet format by assigning a remarkably virtuosic solo role to the first violin, from the richly diverse opening movement to the finale with its almost ironic recitative and an exhilarating passage on the folk song â??Dâ??Bäurin hat dâ??Katz verlornâ?. Mozart himself played first violin in the 1777 performance. Later he wrote, â??They all opened their eyes! I played as though I were the finest fiddler in all Europeâ?.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: LM.C05980
ISBN 9790230359801.
SKU: P2.60044
For many years I have coached brass quintets at the USC Thornton School of Music. One of the outstanding young quintets was the Valente Brass: Yurie Yoshida, and Jessica Cruz, Trumpets; Erika Miras, Horn; Jonathan Sie, Trombone; and Jake Kraft, Bass Trombone. They kept urging me to write a quintet for them and thus was born HoopLA. This short (4:30 min) one movement piece was premiered by them at the Live at Basset Hall 8 concert, April 13, 2014. It was during this same time that I was writing two other works, Intrepideedoodah and Pocket Change. In all three I used 6/4 meter as the main rhythmic structure. I call it my 6/4 period. That meter translates easily into 12/8 and many other groupings of 2s, 3s, 4,s and 6s--the glories of hemiola abound. A unison intro leads to a Latin set-up in the trumpets and a tricky groove in the trombones. The horn has a haunting melody over that. A middle waltz section follows with imitative solos in the trumpets and a series of duets between the all of the players--giving the impression of odd meters. The main theme returns with a rousing ending. The brass quintet members named the piece HoopLA and, as the title suggests, it's a lot of fun in Los Angeles. -Jim Self.
SKU: P2.70021
Waltz for Betz (1999) is, as one might assume, a waltz dedicated to someone named Betz. It is a gentle, passionate ballad--Erik Satie by way of Henry Mancini--originally composed for solo piano as a musical Valentine's Day card. Waltz for Betz now exists in multiple arrangements for virtually every instrument: with piano accompaniment; with string quartet or string quintet accompaniment; and with string orchestra accompaniment. In 2006, it was released in its version for viola and string orchestra by the Tasmanian Symphony Orchestra on the ABC Classics label in Australia, where it continues to enjoy frequent radio play. In 2009, violist Michelle LaCourse recorded Waltz for Betz on her CD, Chocolates--Music for Viola and Piano by James Grant, on the MSR Classics label. In 2011, it was recorded by Tim Buzbee in its version for tuba and piano and released on Albany Records. And in 2012, clarinetist William Helmers released Waltz for Betz in a version for clarinet and string quintet, on his Potenza Records release, High Autumn.
SKU: BT.DHP-1063985-070
9x12 inches. International.
This short work entitled Le Basque (the Basque) was often used by the late great horn virtuoso Dennis Brain as an encore piece. Peter Knudsvig has adapted it for solo horn and quartet accompaniment. Marin Marais, ein Zeitgenosse und Schüler von Lully, war (1656-1728) als Virtuose auf der Viola da Gamba in ganz Paris bekannt. Daneben widmete er sich auch dem Unterrichten und Komponieren. Dieses kurze Werk mit dem Titel Le Basque wurde vom Hornvirtuosen Dennis Brain oft als Zugabe gespielt. Peter Knudsvig bearbeitete es für Solohorn und Blechbläserquartett. Le Quintette de Cuivres Rekkenze Brass a été fondé par des membres de l’Orchestre Symphonique d’Hof en Allemagne, et reconnu internationalement comme un des meilleurs ensembles du genre. La devise de l’ensemble se résume par “BRASSzination® : la fascination par les cuivresâ€. C’est avec grand plaisir que nous vous présentons la Collection Rekkenze Brass qui couvre un large éventail de styles. Chaque Å“uvre publiée dans cette collection est accompagnée d’un compact disc sur lequel sont enregistrées les versions intégrales de la plupart des Å“uvres disponibles dans une interprétation unique du Rekkenze Brass. Instrumentation : 2 TrompettesSib, Cor en Fa/Mib,Trombone en Ut BC, Tuba Strumentazione: 2 Trombe Sib, Corno Fa/Mib, Trombone, Tuba in Do o Basso Sib.
© 2000 - 2024 Home - New releases - Composers Legal notice - Full version