SKU: CF.BF141
ISBN 9781491159989. UPC: 680160918584.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayerâ€, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.†This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer†and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication†(the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Songâ€, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
SKU: BT.DHP-1135315-070
ISBN 9789043146814. 9x12 inches. English-German-French-Dutch.
More Classical Highlights is the follow-up to Classical Highlights, a collection featuring arrangements of classical themes dating from the 17th century up to the19th century. The parts are quite easy and attractively written, but the arrangements stay as faithful as possible to the original works. Baroque music is represented with two highlights: the well-known Canon by Pachelbel may well be the most performed 17th century composition. The power of the piece lies in a bass line of only eight notes, above which the melodic line of the round itself develops. Réjouissance from Music for the Royal Fireworks is a very joyful composition bythe Anglo-German baroque composer Handel. The 18th century classical style gives us the refined minuet by Boccherini, the Italian composer who wrote a wealth of chamber music. The 19th century features in three famous works: the lively Marche Militaire No 1 by the Austrian composer Schubert originates from 3 Marches Militaires for four-handed piano. The Can Can from Orphée aux enfers (Orpheus in the Underworld) is the best-known separately performed piece by the operetta composer Offenbach. Following this exciting dance music there is the beautiful, lofty Largo theme from the second movement of Czech composer Dvorákâ??s From the New World Symphony. In short: Six varying arrangements - challenging and very suitable for performances! More Classical Highlights is het vervolg op Classical Highlights, een verzameling arrangementen van klassieke thema´s die dateren uit de periode van de 17e eeuw tot en met de 19e eeuw. De partijen zijn eenvoudig en aantrekkelijk geschreven; tegelijkertijd blijven de arrangementen dicht bij het origineel. De barokmuziek is vertegenwoordigd met twee highlights. De bekende Canon van Pachelbel is wellicht de meest gespeelde 17e-eeuwse compositie. De kracht ervan ligt in een baslijn van slechts acht noten waarboven zich het lijnenspel van de canon ontspint. Réjouissance uit Music for the Royal Fireworks is een zeer opgewekte compositie van deDuits-Engelse barokcomponist Händel. De 18e-eeuwse klassieke stijl horen we terug in het verfijnde menuet van Boccherini, een Italiaanse componist die een schat aan kamermuziek schreef. De 19e eeuw komt naar voren in drie beroemde stukken. De uitbundige Marche militaire nr. 1 van de Oostenrijkse componist Schubert komt uit 3 Marches militaires voor vierhandig piano. De Can Can uit Orphée aux enfers (Orpheus in de onderwereld) is het beroemdste afzonderlijk uitgevoerde stuk van de operettecomponist Offenbach. Na deze opzwepende dansmuziek volgt het prachtige, gedragen thema uit het tweede deel van de symfonie Uit de nieuwe wereld met de titel Largo, van de hand van de Tsjechische componist Dvorák. Kortom: zes zeer afwisselende arrangementen, uitdagend en uitermate geschikt voor uitvoeringen! More Classical Highlights ist die Fortsetzung von Classical Highlights, einer Sammlung von Arrangements klassischer Themen aus der Zeit vom 17. bis zum 19. Jahrhundert. Die Stimmen sind recht einfach gehalten und reizvoll ausgearbeitet; zugleich sind die Arrangements nah an den Originalstu cken. Der Barock ist mit zwei musikalischen Höhepunkten vertreten: Der bekannte Canon von Pachelbel ist vielleicht die meist gespielte Komposition aus dem 17. Jahrhundert. Die Kraft dieses Stu ckes liegt in einer Basslinie aus nur acht Noten, u ber der sich das eigentliche Gefu ge des Kanons entwickelt. Réjouissance aus der Feuerwerksmusik ist einesehr fröhliche Komposition des deutsch-englischen Barockkomponisten Händel. Ein Kleinod der Klassik aus dem 18. Jahrhundert ist das raffinierte Menuett von Boccherini, einem italienischen Komponisten, der einen groÃ?en Schatz an Kammermusik schrieb. Das 19. Jahrhundert ist mit drei beru hmten Werken vertreten: Der lebhafte Marche militaire No. 1 des Ã?sterreichers Schubert stammt aus 3 Marches militaires fu r Klavier zu vier Händen. Der Can-Can aus Orphée aux enfers (Orpheus in der Unterwelt) ist das beru hmteste separat aufgefu hrte Stu ck des Operettenkomponisten Offenbach. Nach dieser mitreiÃ?enden Tanzmusik folgt ein schönes, erhabenes Thema aus dem zweiten Satz der Sinfonie Aus der Neuen Welt mit dem Titel Largo aus der Feder des tschechischen Komponisten Dvorák. More Classical Highlights, qui fait suite au recueil Classical Highlights, rassemble une collection dâ??arrangements de thèmes classiques couvrant une période de trois siècles, du XVIIe au XIXe siècle. Les diverses parties instrumentales sont faciles et agréables jouer, mais les arrangements restent néanmoins fidèles aux compositions originales. La musique baroque est représentée par deux oeuvres toujours appréciées. Parmi toutes les compositions du XVIIe siècle, le célèbre Canon de Pachelbel est peut-être celle que lâ??on entend le plus souvent. Sa puissance réside dans une simple ligne de basse de huit notes par-dessus laquelle se développe le motif ducanon lui-même. Réjouissance, tirée de Music for the Royal Fireworks, est une pièce très enjouée du compositeur baroque anglo-allemand Haendel. Le style classique du XVIIIe siècle est inclus sous la forme dâ??un élégant menuet de Boccherini, un compositeur italien qui a écrit une quantité de musique de chambre. Le XIXe siècle est évoqué par trois oeuvres célèbres. La dynamique Marche militaire n° 1, du compositeur autrichien Schubert, extrait des Trois marches militaires pour piano quatre mains. Le Cancan dâ??Orphée aux enfers est la plus connue des oeuvres dâ??Offenbach, célèbre pour ses opérettes. Cette danse endiablée est suivie du Largo, admirable thème du deuxième mouvement de la Symphonie du Nouveau Monde, du compositeur tchèque Dvorák. En résumé : six arrangements variés, stimulants et parfaits pour être interprétés en concert !
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: SU.80119001
Guitar & Cello Composed: 1982 Published by: Soundspells Productions Includes set of 2 scores Dark Orpheus (1982) for guitar and cello is a dramatic rhapsody.Recorded by William Anderson and Laszlo Varga.