SKU: BT.DHP-1053830-010

English-German-French-Dutch.

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.

In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.

Jacques Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition.

Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.

SKU: HL.49032913

ISBN 9790001126380. 8.25x11.75x0.19 inches.

In my ballet Orpheus, a full symphony orchestra is employed. Woodwind, brass and percussion represent Apollo, the god-sent Master of the Muses who has handed over to Orpheus the Power of Music. The (opposite) sound world of Orpheus is made of stringed instruments: the guitar, reaching back into classical history, contains the basic intervals of Orpheus' music in this context, harp and harpischord represent further technical and harmonic developments of the literature for plucked instruments, consequently their music shows more developed aspects, more elaborate variations, of the basic material. The sound of the plucked strings is embedded in the sound of a small orchestra of bowed strings.- Hans Werner Henze.

SKU: UT.CH-360

ISBN 9790215327252. 9 x 12 inches.

I am very grateful to Andrea Schiavina and Ut Orpheus Edizioni for their interest in my father's unpublished works. I hope that these new pieces will pique the interest of guitarists the world over and contribute to an overview of the work of one of the guitar's most prolific composers.
My thanks go to Brian Roberts, of Wayne State University, who has offered to oversee the technical and musical aspects concerned with presenting this music and to all the individual editors who have generously given of their time. Any mistakes in the transmission of their ideas are entirely mine.

(Christopher Duarte).

SKU: UT.LB-4

ISBN 9788881094479. 6.5 x 9.5 inches.

â??During my career spanning half a century, like all my fellow harpists I constantly had to grapple with the commonly held view that the harp has neither music nor history of its own.
Fortunately, over the years I have been able to give the lie to this myth and have tried to bring to light some of the vast repertoire, both early and modern, expressly composed for this instrument which has been treated somewhat as an outsider in the musical world.
The research work for my books on Italian and Swiss harp music was plain sailing because source materials were specific titles and title pages. Were I to write books on French, German, Austrian, British, Bohemian, Spanish, Portuguese or Scandinavian harp music, the work involved would be equally smooth and straightforward.
However, where Dutch music is concerned, the approach is rather different, because here it is the painters, treatise-writers and historians who provide the evidence and guidance necessary to discover the musical customs and traditions where the harp played a significant part.
Performers looking for pieces of music may use this book as follows: chapter II deals with treatises, chapter III with paintings, chapter IV with history and research accounts. Chapters V and VI are concerned with confusions in terminology. Chapter VII describes recent developments and chapters VIII and IX cover composers and pieces of music. Libraries and publishers are listed with their addresses in chapters X and XI, and finally chapter XII consists of the index based on the various groups of performers.
In this last chapter harpists will find the composers most suited to their programme, and can then turn to chapters VIII and IX for details. The actual pieces can be obtained by consulting chapters X and XI. I wish you every success in your search, in your rehearsals and in your concerts !
In order to define what is Dutch or non-Dutch in early music, I have followed the current approach, i.e. all art and history prior to the separation of the â??Seven Provin­ces in the 16th century is the common heritage of the Low Countries, whereas everything pertaining to those courageous lands from then onwards is specifically Dutch..

SKU: UT.PEB-7A

ISBN 9790215314962. 9 x 12 inches.

Performance Material on Hire

[Solo: S - 0.2.0.0 - 2.0.0.0 - Str - Bc].