SKU: HL.244125

ISBN 9781540002419. UPC: 888680707231. 9.0x12.0x0.274 inches.

If you play an instrument and you're a Disney fan, you'll love this collection of 101 favorites to learn and play! Songs include: Beauty and the Beast • Can You Feel the Love Tonight • A Dream Is a Wish Your Heart Makes • Evermore • Go the Distance • He's a Pirate • I See the Light • Kiss the Girl • Let It Go • Mickey Mouse March • Reflection • A Spoonful of Sugar • True Love's Kiss • We're All in This Together • When You Wish upon a Star • A Whole New World • You've Got a Friend in Me • Zip-A-Dee-Doo-Dah • and more.

SKU: HL.14030980

ISBN 9788759871973. 12.0x16.0x0.285 inches.

Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.

SKU: HL.51487045

ISBN 9790201870458. UPC: 888680745318. 6.75x9.5x0.244 inches.

In autumn 1895, after returning from New York once and for all, Dvorák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks he composed a new string quartet in G major. Together with the Quartet in A-flat major op. 105, it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes, while his motivic working shows him to be a master at the height of his powers. Even today, it seems almost as if we can feel the composer's satisfaction with this work: “I am working so easily and it is going so smoothly that I could not wish it better.”.

SKU: HL.48024561

ISBN 9781784543518. 0.078 inches.

This Sonata for Viola (unaccompanied) was written in 1999. The soloists C-string is tuned down a semitone for the entire piece, giving a duskier quality to the tone-colour, and setting up in the very first bar the characteristic melodic/harmonic shape that infiltrates all four movements. I - slowish and thoughtful - gradually expands this opening idea into cantilena and pattern, as prelude to II - Vivacissimo - played muted throughout, a tremolando tarantella, with contrasting section, chunky double-stops, alternating withsomething of a gigue. III - adagio - rhapsodic and quasi-improvisando, enclosing a simple self-contained melody, and linking into IV, where the gigue-like material from the scherzo provides the principal substance, expanding into an ardent cantabile, and calminginto the Coda not just the finale but, in its reminiscences of I, to the sonata as a whole.