SKU: BT.EMBZ14505A
English-German-Hungarian.
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BT.EMBZ14505
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research result and, numerous manuscript facsimiles make the practical paperback version of this volume of the New Liszt Edition a specially important publication of scholarly value.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: HL.1105189
UPC: 196288102106. 6.75x10.5x0.036 inches.
Now available for SSAA.This thrilling new arrangement by twin brothers Matt and Adam Podd became an internet sensation shortly after we were all quarantined due to Covid-19. Drawing on friendships in the New York City Broadway, church, and opera worlds, more than 120 world class singers and players came together to create the virtual choir and orchestra. In the final chorus, the arrangers very cleverly turn the iconic phrase “How can I keep from singing?†into “Keep Singing.†A message we all need to hear and remember during times of isolation and at all times.
SKU: HL.49009442
ISBN 9790200209556. 5.5x7.5x0.118 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.295068
ISBN 9781540055200. UPC: 888680945091. 8.5x11.0x0.592 inches.
Your new official bebop bible! Over 200 classics arranged for Bb instruments in Real Book style. Titles include: Anthropology * Au Privave * Be-Bop * Boneology * Boplicity (Be Bop Lives) * Byrd Like * Cherokee (Indian Love Song) * Confirmation * Donna Lee * Doxy * Epistrophy * 52nd Street Theme * Four * Goin' to Minton's * Good Bait * Groovin' High * Hi-Fly * Hot House * In Walked Bud * Jay Bird * Lady Bird * Lennie's Pennies * Moose the Mooche * Move * Oblivion * Oleo * Parisian Thoroughfare * Rosetta * Salt Peanuts * Solar * Teaneck * Tin Tin Deo * Tour De Force * Tricrotism * Wail * Woodyn' You * Yardbird Suite * and more! Comb bound.
SKU: HL.200791
UPC: 888680651718. 6.75x10.5x0.019 inches. Edwin M. Willmington/Samuel Trevor Francis.
The Five Solas are principles of Christian faith that originated in the 16th century. There are five songs in this series, each expressing an aspect of the sola themes.
SKU: EC.9278
UPC: 600313311185. English.
Songs of Love and Solace traces a young man's journey of love and heartbreak. The cycle of four texts by Irish poet William Butler Yeats begins with Brown Penny. This short poem depicts a young man infatuated with the idea of falling in love, and then becoming awestruck as he contemplates the depths of love’s power. In the second poem, He Wishes for the Cloths of Heaven, the poet, speaking to his beloved, realizes he has nothing of value to offer but his dreams. Tread softly, he implores, because you tread on my dreams.” In When You Are Old, we find our poet heartbroken. In his grief he peers into the future and foresees his beloved, in old age, remembering the depth and purity of their forsaken love: “But one man love the pilgrim soul in you, And loved the sorrows of your changing face.” In the final song, The Lake Isle of Innisfree,” the poet, saddened but wiser, wistfully resolves to escape the struggles and heartbreaks of his modern existence, and seek solace in the beauty and calm of nature. Songs may be performed separately.
SKU: BT.MUSM570208371
English.
Cover design by Anna Aslanova, 11, winner of the design competition, September 2005. Images by the runners-up, Jayana and Nisha Patel, 12, appear on pages 10 and 13, depicting particular 'people'. Anthony Gilbert's impressive set of People Pieces contains an accessible, fun and stimulating array of 10 pieces in different characters designed for beginner and intermediate piano students. The volume has been written in consultation with the pianist and teacher Kate Dixon who has edited the book. With numbers like Peaceful Person and Tired Teacher for absolute beginners, to Bluesy Busker, Cockney Character and Fitness Fanatic that work towards the ABRSM Grade 5 level, the book isa hit with toddlers and teenagers alike. People Pieces makes an ideal accompaniment or alternative to grade exam pieces, and covers a range of techniques and musical styles that is sure to keep any student enthusiastic.
SKU: CF.CPS219
ISBN 9781491152454. UPC: 680160909957.
Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short.
SKU: CF.CPS219F
ISBN 9781491153130. UPC: 680160910632.
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