SKU: HL.49045309

ISBN 9781495082443. UPC: 888680656577. 9.0x12.0x0.859 inches. English.

I was immediately drawn to the quartet's poignant, intimate and expressive sound world, the evocative and hauntingly beautiful voice of contralto Karen Clark and the poetry of Henry David Thoreau whose words so thoroughly capture the transcendental spirit of nineteenth century New England life. Living and working in the high hills of rural New Hampshire provided a synergy of poetry and music that formed an ideal union to help frame the mood, character and direction of this work. Joseph Schwantner.

SKU: BR.PB-15133-07

In Cooperation with G. Henle Verlag

ISBN 9790004214695. 6.5 x 9 inches.

Bruch's evergreen for the first time in UrtextThanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto?The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.

SKU: HH.HH483-FSP

ISBN 9790708146940.

A forgotten quartet attributed to Haydn and largely ignored for 200 years. Issued in Vienna in 1787 by Haydn’s favoured publisher, Artaria, the title page claims that it was both composed and arranged by the composer. Circumstantial and musical evidence suggests that this may, indeed, have been the case. This is the first modern edition of the work.

SKU: PR.414412370

ISBN 9781491137949. UPC: 680160692637. 9 x 12 inches.

First published in 1929, Stephen De’ak’s two-volume Modern Method for Cello remains a timeless resource for new and developing cellists at every stage of practice and performance. A student of David Popper, De’ak presents a thoughtful and thorough method for beginning cellists with a detailed focus on fundamentals, including posture and balance of the bow and left hand.Unlike many other methods, the Modern Method spends considerable time developing note-recognition and tone production by isolating a skill or concept in a single exercise. These include open string and bow distribution exercises, as well as systematic left hand practice focusing on one or two notes at a time. This careful approach in the beginning allows the new player to reinforce important right- and left-hand skills before attempting performance pieces.Sequential scales and exercises in various keys and positions are supplemented with songs and tuneful etudes, allowing the player to apply practical technique to expressive performance. These etudes are both pedagogical and performance-worthy, rich with musicality and charm. The musical and technical concepts presented in this method can be learned in any order at the teacher’s discretion to best serve the student.Revisions in this new edition include additional instruction, clarification of fingerings with shifting indications, updated melodies, and a beautiful new engraving. The wealth of practice and performance repertoire in The New Modern Method for Cello, Volume 1 makes this book a valuable addition to every cellist’s library.Volume 2 offers training in higher positions and thumb position, advanced left-hand and bowing techniques, and musical exercises including 29 concert studies. These etudes, often heard in recitals, were designed by De’ak as the perfect stepping stone to Popper’s High School of Cello Playing.

SKU: PR.414412380

ISBN 9781491137956. UPC: 680160692644.

First published in 1930, Stephen De’ak’s two-volume Modern Method for Cello remains a timeless and beloved resource for new and developing cellists at every stage of practice and performance. A student of David Popper, De’ak presents a thoughtful and thorough method for beginning cellists with a detailed focus on fundamentals, including posture and balance of the bow and left hand. Unlike many other methods, the Modern Method spends considerable time developing note-recognition and tone production by isolating a skill or concept in a single exercise. These include open string and bow distribution exercises, as well as systematic left hand practice focusing on one or two notes at a time. This careful approach in the beginning allows the new player to reinforce important right- and left-hand skills before attempting performance pieces.Sequential scales and exercises in various keys and positions are supplemented with songs and tuneful etudes, allowing the player to apply practical technique to expressive performance. These etudes are both pedagogical and performance-worthy, rich with musicality and charm. The musical and technical concepts presented in this method can be learned in any order at the teacher’s discretion to best serve the student. Revisions in this new edition include additional instruction, clarification of fingerings with shifting indications, updated melodies, and a beautiful new engraving. The wealth of practice and performance repertoire in The New Modern Method for Cello, Volume 2 makes this book a valuable addition to every cellist’s library. Volume 2 offers training in higher positions and thumb position, advanced left-hand and bowing techniques, and musical exercises including 29 concert studies. These etudes, often heard in recitals, were designed by De’ak as the perfect stepping stone to Popper’s High School of Cello Playing.

SKU: FH.VC1

ISBN 978-1-55440-537-4.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Baroque and Classical Repertoire:
Menuet and Trio, W.O 10, no. 3 - Beethoven, Ludwig van arr. Watson Forbes
Rondeau (from The Fairy Queen) - Purcell, Henry arr. Watson Forbes
Sarabande - Handel, George Frideric arr. Jason Noble
Andante grazioso - Mozart, Wolfgang Amadeus arr. Jason Gray
Hornpipe a l'Inglese - Galliard, John Ernest arr. Christine Donkin
Vittoria, mio core! - Carissimi, Giacomo arr. Christine Donkin
Traditional and Romantic Repertoire:
Tambourin - Rameau, Jean-Philippe arr. Christine Donkin
All the Pretty Little Horses - American lullaby arr. Jason Gray
Barbara Allen - British folk song arr. Forrest Kinney
Simple Gifts - Brackett, Joseph Jr. arr. Forrest Kinney
March (from The Nutcracker) - Tchaikovsky, Pyotr Il'yich arr. Jason Noble
Londonderry Air - Irish folk song arr. Forrest Kinney
Repertoire Composed After ca 1930:
A Little Child's Dance - Konicek, Zdenek
...I Say Ca-rib-'be-an - Birston, Harold
Sonata da camera - Matz, Rudolf
- First Movement: Adagio
- Fourth Movement: Allegro vivace
Grab the Slippery Toad! - Lumsden, Caroline and Ben Attwood
Hungarian Stomp - Wedgwood, Pam
Budapesto - Cheney, Carey
Wild West - Blackwell, David and Kathy Blackwell
Livi's Blues - Cheney, Elliott W.

SKU: PR.14440727S

UPC: 680160681907. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.