SKU: BR.OB-5231-23
ISBN 9790004337080. 10 x 12.5 inches.
Whether for first editions or not the primary sources of Beethoven's works always have to be interpreted with great expertise. The editor's knowledgeability is the decisive point when it comes to the level of quality of a new edition. And both Clive Brown and Peter Hauschild are setting standards.On the whole, it was a good idea for Breitkopf to give itself time with these editions. The difficult feat of doing justice to the needs of performers and to philological scholarship has been carried off at a level that raises the standards to an almost frighteningly high level. (Peter Gulke) In the case of the First Symphony, Clive Brown reaches an optimal balance between source criticism and performance-practical requirements. Interpreters and scholars appreciate the source criticism for performance practice that Breitkopf cultivates not only in its Beethoven editions.In the case of the First Symphony, Clive Brown again reaches an optimal balance between source criticism and performance-practical requirements.
SKU: BT.EMBZ15083
English-German-Hungarian.
Bartók probably first played pieces by Domenico Scarlatti in public in 1911. During the next two decades he featured them in his piano recitals more than 60 times. His dedication to Italian and French Baroque music is also illustrated by the fact that, in 1920, he signed a contract with the Budapest publisher Rozsnyai to edit seven volumes of Baroque keyboard music. His plan was to select compositions by Couperin and Rameau in addition to pieces by Scarlatti, but during the 1920s it ended up being only two volumes of Couperin and another two comprising ten compositions by Scarlatti. In editing these masterpieces, Bartók's aim was primarily to counterbalance or evenovershadow the works by the Mendelssohn-Schumann epigones used in primary and secondary music education. The present, single-volume collection comprises Bartók's two Scarlatti volumes, complete with an editorial preface, his detailed performing instructions, and his commentary. The editor recommends these compositions for pianists with at least five years' experience, and gives practical recommendations for the grouping of individual items to form charming sonatina-like sets of pieces. Bartók spielte wahrscheinlich 1911 erstmals Werke von Domenico Scarlatti öffentlich und in den folgenden zwei Jahrzehnten ließ er sie an seinen Klavierabenden mehr als sechzig Mal erklingen. Seine Verbundenheit mit der italienischen und französischen Barockmusik beweist sich auch darin, dass er 1920 einen Vertrag mit dem Budapester Verlag Rozsnyai über die Herausgabe von sieben Heften mit Werken der Klaviermusik schloss. Geplant war, dass er das Material der Bände sowohl mit Werken Scarlattis als auch mit Kompositionen Couperins und Rameaus zusammenstellte. Im Laufe der 1920er-Jahre kam es schließlich zur Herausgabe einer Couperin-Auswahl in zwei Heften sowie - ebenso in zwei Heften - von zehn Scarlatti-Kompositionen. Mit der Veröffentlichung dieser Meisterwerke beabsichtigte Bartók in erster Linie, den Mendelssohn-Schumann-Epigonen bereits in der Musikausbildung in der Grund- und Mittelstufe entgegenwirken und ihre Werke in den Hintergrund treten zu lassen.
Die vorliegende Publikation versammelt in einem Band das Material der beiden mit Bartóks Vorwort, detaillierten Vortragsanweisungen und Anmerkungen erschienenen Scarlatti-Hefte. Der Herausgeber empfiehlt PianistInnen diese Kompositionen seit mindestens fünf Jahren zum Klavier spielen und gibt auch praktische Vorschläge dafür, wie man die einzelnen Stücke zu einem attraktiven Sonatina-artigen Ganzen gruppieren kann.
SKU: PR.416413710
ISBN 9781598068214. UPC: 680160587162. 9x12 inches.
Needham's original intent with Chamber Symphony was to encapsulate the 2008 presidential election, from the Democratic primaries to the historic general election campaign and win of Barack Obama. But, says Needham, In the midst of the general election circus, I decided to broaden my inspiration and have the work's overall goal focus on the larger ideas of hope and transformation. Chamber Symphony was commissioned by the American Composers Orchestra with generous support of Paul Underwood. Additional support was from the National Endowment for the Arts.I originally envisioned a work inspired by the political landscape of the 2008 presidential election, focusing primarily on the hard-fought Democratic Primary race. I was fascinated by the historic and hopeful spirit that both the Barack Obama and Hillary Clinton campaigns embodied. Sometime later, in the midst of the general election circus, I decided to broaden my inspiration and have the work’s overall goal focus on the larger ideas of hope and transformation. Chamber Symphony is constructed in three movements (played without pause): I. Hammering Out, II. Open-ended Echoes, and III. Radiant Nation. The titles suggest a general atmosphere that each movement attempts to express. The outer movements, both quick in tempo, act as the antithesis of each other in terms of mood. “Hammering Out†employs an aggressive, relentless, pounding beat that frequently shifts, often emphasized with metallic sounds. “Radiant Nation†is much lighter and more optimistic in tone, and uses an up-beat groove throughout the movement. The middle movement, “Open-ended Echoes,†is the proverbial calm after the storm. Unlike the outer movements, “Open-ended Echoes†is almost void of any strong sense of pulse. The movement attempts to create a peaceful, contemplative mood that transforms the volatile nature of the first movement tothe radiant spirit of the last. Chamber Symphony was commissioned by the American Composers Orchestra for its Orchestra Underground Series with the generous support of Paul Underwood. Additional support for the ACO’s Emerging Composers Program comes from the National Endowment for the Arts.— November 5, 2008.
SKU: HL.14004875
ISBN 9788759809433. Danish.
The favourites of children - 120 favourites in one book! The music teacher's indispensable handbook. Linda Lehun has through her years as a teacher of music in the primary school collected a large number of songs that the children have chosen themselves. The songs range from the simple songs usually sung by the younger pupils till the older classes, where eg Mona, Mona, Mona, hvornar kommer den dag ... still is a hit. With Bornenes Favoritter the teacher is well dressed for teaching, singing etc. All songs are written in keys easy to sing and with contemporary chords. Anne Lassen has illustrated everything.
SKU: CA.2731813
ISBN 9790007201883. Key: F minor. Text language: Latin.
Biber's Requiem in F minor is amongst the most impressive settings of the Requiem Mass of the 17th century. The exact reason for the composition of the Requiem, which can be dated to 1692, is not known. The dark key color of F minor is emphasized by the instrumental scoring for two violins, three violas, basso continuo and three trombones (colla parte with the chorus). The vivid language of the Requiem text offered Biber a wealth of possibilities for expressive, musical interpretation. The intensity of the musical language used to portray lamenting and mourning is impressive. In the course of publication of the Biber Requiem, surprisingly the primary source, which until now had been thought to be missing, resurfaced and the edition could be prepared based on this astonishing discovery. This is a work of mid-level difficulty for a choir and with the clear disposition of the string parts it is well suited for performance by amateur choirs. Score and part available separately - see item CA.2731800.
SKU: HL.14021541
English.
Minibeast Madness takes a humorous and delightfully appealing look at a bug's life, as fiesta guests gather in the garden on midsummer's night. The ten new songs from Debbie Campbell will both amuse and provide excellent new repertoire for young singers.Minibeast Madness can be performed as a musical or concert piece and is ideal for use with conservation projects. Approximate duration as a musical is 45mins. The musical suits Key Stages 2 and 3, but also has parts which can be taken by younger children, and is appropriate for whole primary school productions. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: JK.02027
This spirit-rich accompaniment of I Am a Child of God beautifully illuminates the eternal truth that we have a loving Heavenly Father. Children will have no trouble learning the arrangement as they sing the familiar melody right out of the Primary Songbook. The accompaniment is medium hard in difficulty yet very intuitive to play. The sheet music includes the children's part and accompaniment.Words: Naomi Ward RandallMusic: Mildred Tanner PettitArrangement: Grant GibbonsDifficulty: Easy for Children's Chorus/Medium Hard AccompanimentDuration: approx. 3:30Scripture References: Romans 8:16, Psalm 82:6, Mosiah 4:15, Doctrine and Covenants 14:7I Am a Child of God Song Kit is also available separately HERE. It is a resource designed to facilitate spirit-filled learning of this beloved children's song using beautiful graphics, reverent activities, scriptures, as well as the sheet music.
SKU: BR.OB-15108-26
ISBN 9790004339626. 10 x 12.5 inches.
Mozart's Concerto K. 453 enjoyed great popularity during the composer's lifetime and was widely known through copies and a print. The state of the sources is thus multi-faceted yet unequivocal: the primary source is the rediscovered autograph, which was considered lost after 1945 and was not at the disposal of the Neue Mozart-Ausgabe. The editorial quality of the new edition is guaranteed not only by Schiffs sensitive fingerings and stylistically well-grounded cadenzas, but also by the Mozart scholar Stephan Horner to whom Henle has entrusted its urtext editions. Breitkopf/Henle cooperation means: Each work is edited according to predetermined standardized editorial guidelines. First and foremost among the sources consulted were Mozarts handwritten scores, being the most important sources. In some cases they had not been available when the previous editions were being prepared. Moreover, we know today that in addition to Mozarts own manuscripts, early copies in parts and prints also contain important information regarding the musical text.In Cooperation with G. Henle Verlg.
SKU: BR.OB-5238-30
Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.
ISBN 9790004335475. 10 x 12.5 inches.
Ludwig van Beethoven composed his Eighth Symphony op. 93 in 1811/1812. As a consequence of the wartime upheavals of those years, the world premiere of the work did not take place until 27 February 1814 in Vienna under the composer's direction.Hauschilds new edition is based on all the major primary sources. With masterful expertise, Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately. Whoever seeks more about how the Breitkopf new edition differs from other available editions will also find this information quickly and easily.Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.
SKU: BT.DHP-1053880-010
9x12 inches. English-German-French-Dutch.
“Don’t listen to anyone’s advice, but listen to the lessons of the wind passing and telling the history of the world.†Claude Debussy Since the dawn of time, the wind has played an important role in all civilisations. Worshipped as a deity, “mastermind†of poetry, driving force, or heaven’s messenger, the wind took on the most varied shapes according to the era and people. In Claude Debussy’s time, music listened to the voice of nature, and imagination found its primary rights again. This importance of wind was the inspiration for Maxime Aulio’s work Whispering Wind with its suspended atmospheres, vaporous lines and luminous colours. The wind caresses the canvas. A fascinatingnew work for concert band. “Luister niet naar adviezen van wie dan ook, maar naar de lessen van de wind die voorbij waait en de geschiedenis van de wereld vertelt.†(Claude Debussy) Sinds het begin der tijden heeft de wind in alle beschavingen een belangrijkerol gespeeld. In de tijd van Claude Debussy gaf muziek het geluid van de natuur weer en stond verbeeldingskracht in hoog aanzien. Het is deze Franse sensibiliteit die Maxime Aulio’s werk Whispering Wind kenmerkt, met vluchtigelijnen en heldere kleuren. De wind raakt het doek, suggereert en roept slechts op, maar met een indrukwekkende precisie. Een mooie en bijzondere compositie!Seit Menschengedenken hat der Wind immer eine wichtige Rolle in allen Zivilisationen gespielt. Vor allem auch zu Lebzeiten von Claude Debussy hörte die Musik auf die Stimme der Natur. Jedes Instrument schien Symbol eines Bildes oder einer Vorstellung zu sein. Genau diese typisch französische Empfindsamkeit zeichnet auch deutlich Maxime Aulios Whispering Wind mit seinen spannungsreichen Stimmungen, nebelhaften Linien und leuchtenden Farben aus. Ein sehr ausdruckvolles Werk!« N’écoutez les conseils de personne, sinon du vent qui passe et nous raconte l’histoire du monde. » Claude Debussy / Depuis la nuit des temps, le vent a toujours occupé une place importante dans les civilisations. Dieu vénéré ou égérie des poètes, force motrice ou messager aérien, il emprunte toutes les formes, selon les peuples ou les époques. Les chemins du vent sont ceux qui ne sont pas tracés d’avance ; ils nous racontent mille histoires venues d’ailleurs. Les murmures du vent sont les sentiers diaphanes de l’ me, les couleurs de l’éphémère, la poésie des sons. Avec Claude Debussy, la musique écoutait les voix de la nature et l'imagination retrouvait auprès d'elleses droits primitifs. Chaque instrument semblait fait d’impressions et de suggestions. La partition cessait d'être développement pour devenir enveloppement. C’est cette sensibilité toute française que Debussy contribua façonner, que nous retrouvons dans Whispering Wind (“Les Murmures du Ventâ€) de Maxime Aulio. Des climats en suspens, des traits vaporeux, des couleurs lumineuses. Le vent caresse la toile, suggère, évoque seulement, mais avec une éblouissante précision. Le vent est une parole nomade qui voyage dans notre intérieur très longtemps. “Non ascoltate i suggerimenti degli altri, ma ascoltate le lezioni del vento che passa raccontando la storia del mondo.†Claude Debussy Le strade del vento sono quelle che non sono tracciate in precedenza, ci raccontato mille storie di altri luoghi. I mormorii del vento sono i sentieri diafani dell’anima, i colori dell’effimero, la poesia dei suoni. Con Claude Debussy, la musica ascoltava le voci della natura. Ritroviamo questa sensibilit tutta francese che Debussy contribuì a formare in Whispering Wind (Il mormorio del vento), brano del giovane compositore francese Maxime Aulio. Tratti vaporosi, colori luminosi, il vento che accarezza, suggerisce, evoca con sorprendenteprecisione. Il vento è una parola nomade che viaggia a lungo nel nostro interiore.
SKU: HL.49046901
UPC: 196288075271.
This complete edition, which is the first outside Russia, of the almost fourteen-year correspondence between P. I. Tchaikovsky and the music-loving patron (and wealthy widow of a Baltic railway entrepreneur) N. F. von Meck represents for German-speaking readers and music historians an indispensable primary source on the life and work of the greatest Russian composer as well as on his environment, while, at the same time, reflecting the political, cultural and social situation of the Russian Empire from the perspective of two privileged, educated and regime-loving subjects. The life of the large families Tchaikovsky-Davydov and von Meck, the unpleasant consequences of the composer's unhappy marriage, faith and religion, literature, philosophy, the reception of earlier and contemporary Russian and European music, fine arts, foreigntravel, political, economic and social conditions - even farming (in Brailov and Kamenka/Verbovka, the Ukrainian estates of the von Meck and Davydov families) and many more are the topics of this correspondence between two related and yet so different personalities who, as agreed, never met in personal conversation and yet talked to each other in lively, often confessional speech. The texts of the letters in the present edition (whose planning dates back to the 1950s), with the added contrasting excerpts from letters of Tchaikovsky to other persons, such as his trusted brothers Anatoly and Modest, have been revised according to the new Russian Complete Edition by Polina Vajdman (Celjabinsk 2007 ff.). Various introductions, accompanying texts and overviews as well ascomprehensive indices (one of them systematically by subjects), together with numerous explanations and notes at the bottom of the pages, make it easier for the reader to find his/her way through the all in all more than 1,200 documents. The three volumes are also available for subscription.
SKU: AP.33839S
UPC: 038081395128. English.
This exciting work for beginning band uses a technique in which primary themes begin on a unison note and then move stepwise away and back while the other voices remain static or proceed in contrapuntal inversion. This creates chords that expand and contract almost continuously beneath the melody. The percussion section plays an important role providing a rhythmic base which enhances the flow and development of the piece from beginning to end.
SKU: CA.2731811
ISBN 9790007201869. Key: F minor. Text language: Latin.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
