SKU: PR.11641373S

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: FJ.ST6196S

English.

Experience a whimsical carousel through the eyes of the young and young-at-heart! Playful melodies create the feeling of gliding through the air on your favorite animal. Melodies move seamlessly between upper and lower string voices, giving everyone an active role as the piece develops before the merry-go-round ends with a playful jolt. Lots of fun!

SKU: BR.SMV-41003

ISBN 9790004571019. 11.5 x 8.5 inches.

Die CD zu Heft 1 und 2 der Klavierschule mit 72 Miniaturstucken eingespielt von Michael Proksch finden Sie unter
Klavier ab Vier Die Gangster Seth (George Clooney) und Richard Gecko (Quentin Tarantino) sind auf der Flucht. Auf dem Weg nach Mexico nehmen sie den vom Glauben abgefallenen Prediger Fuller und dessen Kinder als Geiseln. Unterwegs geraten sie in die Bar ,,Titty Twister nicht ahnend dass die Spelunke von Vampiren bevolkert ist ...

Nun ja zieht man davon allen filmischen Klim Bim ab bleiben einige typische Reste: das Abgeschlossene immer neue dramatische Zweierkonstellationen das Tote- immer wieder aufwachend die Verwandlungen die Unruhen und Vernichtungen die vor Vernichtung nur so strotzende Endverwustung usw. ... Im Grunde ein Ruinenmythos in dessen Struktur die Elemente austauschbar sind. Man konnte ihn auch erzahlen mit ,,stimmiger Materialkonzeption ,,historisch obsolet ,,veraltet ,,Unabgegoltenheit ,,aufbrausender Abschaffung ja geht denn immer wieder alles??? Schon dass das nur in einer Bar stattfindet und dass diese Bar uns mit attraktiver Leuchtschrift einladt ins ,,Titty Twister. Unruhige Natur und Schonheit sind heute in der Spelunke zu Hause. Das erleichtert uns die Leichtigkeit am Spass am Sein. Und heute gibts ein Sonderprogramm ... mein Stuck: ,,Titty Twister fur Akkordeon Viola Nepalesische Klangschale Flipperkugeln und Minidramoletts.

Alles Ausdruck oder was???

(Nicolaus A. Huber 2009)

CD:
Anton Hubert (Va) Wolfgang Dimetrik (Akk)
CD Gramola 98922.

SKU: FG.55011-598-9

ISBN 9790550115989.

The volume G of the popular Colourstrings violin tutors by Géza Szilvay studies every position of the violin in a separate volume: G1 the second position, G2 the third position, G3 the fourth position, G4 the fifth position and the last one, G5, the high positions (sixth and seventh). These books form an all-embracing, rich collection of shifting exercises, position playing studies, excerpts from the literature, chamber music (mainly duos), and performing pieces, piano accompaniment offered as a separate publication (Books G1, G2 & G2 supplement 9790550116467; Books G3 & G4 9790550116931 and Book G5 9790550116948).

The extensive Book G5 - Sixth and Seventh Position (9790550116948) follows the key principles of Colourstrings methodology - the use of natural harmonics and constant developing of inner hearing for instance - but it can be fully utilized also without any previous use or knowledge about the Colourstrings method. The innovative and unique visual presentation of the “house of the positions and preparatory exercises for the challenging passages help the young and older students to fully understand, why and where the different positions are needed. The performance pieces with piano accompaniment in the Book G5 (alphabetical order):
Bériot, Charles de: Air varié
Bohm, Carl: Introduction and Polonaise
Brahms, Johannes: Hungarian Dance No. 5
Dancla, Charles: Second Solo
Drdla, Frantisek: Souvenir
Glazunov, Alexander: Spanish Serenade
Kodály, Zoltán: Kallo Double Dances I-III
Kuula, Toivo: Chanson sans paroles
Mozart, Wolfgang Amadeus: Minuet
Pergolesi, Giovanni Battista: Siciliana
Pugnani-Kreisler: Tempo di Minuetto
Rachmaninov, Sergei: Vocalise
Sibelius, Jean: Romance
Sonninen, Ahti: Karelian Dance
Wieniawski, Henryk: Mazurka
Žilinskis, Arvīds Mazurka

Duos for two violins in the Book G5:
B. Campagnoli: Duo (Andantino)
F. J . Mazas: Duos in six positions (Moderato)

Excerpts from the violin literature: Prokofieff - Bartók - Tartini - Rachmaninoff - Bériot - Pugnani - Rode - Weiner - Schubert - Dancla - Rieding

More about the Colourstrings method: https://www.fennicagehrman.fi/sheet-music/colourstrings/.

SKU: HL.49007410

ISBN 9783795717971. German.

Das Werk Franz Liszts erfuhr, ausgehend von den avantgardistischen Merkmalen des Spatstils, eine historische Umbewertung. Die Akzentuierung als eine Vaterfigur der musikalischen Moderne, die das Bild des romantischen Virtuosentyps revidiert bzw. erganzt, greift zusehends auf Werke der fruheren und mittleren Schaffensperiode uber. Vor allem im Bereich unkonventioneller Formverlaufe, die teilweise weit uber die programmatische Freizugigkeit der Neudeutschen Schule hinausweist, wie ungewohnlicher harmonischer Zusammenhange, die schon fruh hinter der virtuos-figurativen Aussenhaut das distanzharmonische Prinzip erkennen lassen, treten dabei in den Vordergrund.Die verschiedenen Beitrage in diesem Buch betonen so innerhalb der kunstlerischen Personlichkeit Liszts beide Aspekte als wesentliche, den der Virtuositat und den der Avanciertheit, um sie dem weit verbreiteten Vorurteil einer generellen Unvereinbarkeit zu entziehen.

SKU: HL.49007643

SKU: PR.11641373L

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.