SKU: MB.30015M
ISBN 9781513465470. 8.75 x 11.75 inches.
Virtually every country blues recording made prior to World War II that has been recovered by the collectors is commercially available. No one could have anticipated how much of the recorded legacy of country blues would become available to be heard. It really is a treasure trove of musical history, and in listening to the incredible breadth and variety in the country blues that this re-issuing movement has made possible, I stand in awe of the magnitude and scope of what the people who played in this style expressed in their music. There really is something for everyone in this music, whether you like your blues smooth and sophisticated or down and dirty. - John Miller. Includes access to online audio.
SKU: PO.PME06
ISBN 9780958242844.
In six inter-related movements, exhibiting throughout great concision and economy, devotees of the composer's style will find much to admire in the second of Farquhar's four string quartets.The composer writes: The quartet is in six movements which are played without a break. The odd-numbered movements are quick, and are all based on the same material?an unsettled chord with B as the melody note, followed by a downward arpeggio flourish and a rising stepwise melody. The tempo in movements 3 and 5 gets progressively faster, and the atmosphere increasingly scherzando in character. The first two even-numbered movements (2 and 4) are slow expressive intermezzi; both feature an up-beat of three repeated Bs leading into chromatic lines. The final movement serves as an epilogue and resolution; the instruments are now muted and the three repeated Bs are now on the beat, while off-beat accompaniment figures provide a gentle swaying dance around them..
SKU: BR.PB-15154
ISBN 9790004215593. 6.5 x 9 inches.
Composed by Manuel de Falla during his lengthy residence in Paris, these three symphonic impressions for piano and orchestra are an expressive work bringing the southern Spanish gardens, which are laid out in the European and Arabic-Moorish tradition, to life. The influence of contemporary French music is noticeable in this composition. Despite many modifications, involving among other things, the scoring, number of movements, as well as layout and content, the basic idea of a nocturnal impression is retained from the outset. The work was finished - and likewise the orchestral material - only shortly before its premiere on 9 April 1916, which was a great success. World War I prevented its publication, though further performances followed, played then from manuscript material. The Urtext edition presented by Ullrich Scheideler takes as the main source the first edition of the score. The Critical Report gives detailed information about the source situation.
SKU: BR.OB-3210-19
ISBN 9790004300718. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.
SKU: CA.5017211
ISBN 9790007080549. Key: B flat major. Language: Latin.
The Mass in B flat, op. 172, dates from 1892 and was published in two authentic versions. The instrumental accompaniment can be played either by an ensemble of wind instruments or by organ. Between Gloria and Credo Rheinberger placed a powerfully expressive a cappella Ave Maria, probably due to the fact that the Mass was first performed on a major feast day of the Virgin Mary: on the feast of Purification (Candlemas) in Breslau Cathedral. Score and part available separately - see item CA.5017200.
SKU: MN.12-128
UPC: 688670121289.
The three movements that make up Nocturnes, Book I are programmatic pieces that take as their points of departure a painting, the rhythms of a great city, and a poem. 1. The Starry Night is a written down improvisation based on Vincent van Goghs famous picture of the same name. The tonal material is a quite literal transformation of the visual elements of the painting: the melismatic cadenzas mirror van Goghs swirling starlight, and the powerful chords were suggested by the sinister trees that shoot upward to puncture the skys patterns. 2. Stovers Rag is a product of the ragtime revival of the early 1970s, when many composers tried their hand at writing concert rags. The New York night, which was not without its sinister element in those days, is expressed in an updating of the classic ragtime format. The piece looks backward as well, with the old French Baroque basse de trompette making an appearance in the trio section. 3. The Song of Shadows taps the nostalgic mood typical of the poetry of Walter de la Mare. The poem of the same name pictures a lone musician on a winter night, an dog sleeping before a sinking fire, and, at the end, the spirits that are summoned by music. The opening melody, played on an 8 flute with tremulant, suggests the blues-tinged sound of an alto saxophone, and throughout the movement the organs capacity for sustained tone is used to suggest and atmosphere of dreamy timelessness. The pieces were written in 1971 and first performed on July 2, 1972 at the National Shrine of the Immaculate Conception in Washington, DC, with the composer at the console.
SKU: CN.S11251
Originally written for piano, Grieg later scored his Holberg Suite for orchestra. Geoffrey Brand has done a masterful job of setting two movements of the suite - the Sarabande and Gavotte - for wind band. Give your students the opportunity to perform first-rate classical music they wouldn't otherwise have access to.Born in Bergen, Norway, into a family of Scottish descent, Edvard Grieg showed a talent for music early and at the age of 10 had piano lessons from his mother. In 1849 he went to study at Leipzig Conservatoire before moving to Copenhagen where he met Riokaard Nordaak, a young Norwegian composer who was immersed in Norwegian nationalism and greatly influence Grieg who felt his future was as a musician dedicated to romantic nationalism. Holberg Suite, originally for piano, was written in 1884 in response to a commission to mark the bicentenary of the birth of Ludvig Holberg, a Norwegian dramatist and satirist. A year later, Grieg arranged 5 movements for string orchestra. Sarabande and Gavotte are intended to be played segue but can, if desired, be performed separately. The music expresses Grieg and his native Norway in a manner which justifies his declaration I am not an exponent of Scandinavian music but of Norwegian..
SKU: BR.EB-11450
In Cooperation with G. Henle Verlag
ISBN 9790201814506. 9.5 x 12 inches.
SKU: M7.VHR-3898
ISBN 9783864341427.
The Philosopher - an expressive piece of music, which the audience will love because of the rich string sound. The melodic lines are well distributed amongst the different instrumental groups. This composition is ideal to practise phrasing. While the parts of violin 1, viola 1 and cello 1 include partly passages up to the 3rd/4th position, the parts of violin 2, viola 2 and cello 2 can be played by students in the first or second year of learning the instrument. These parts also contain pleasing melodies, not just accompaniment. Technique required: Vl. 1: 1st and 3rd position Vl. 2: 1st and 2nd finger pattern in the 1st position Vla. 1: all finger patterns in the 1st position Vla. 2: 1st and 2nd finger pattern in the 1st position Cl. 1: 1st - 4th position Cl. 2: closed (regular) 1st position DB.: 1st position.
SKU: S2.20-2048SF
ISBN 9780787759896.
This setting of Koschat's Psalm 23 features the melody in both low and high bells. The mood shifts from tranquil LV to a dramatic middle section played with mallets, returning gradually to a feeling of serenity. Choir and congregation will get the most out of this peaceful work when it is performed with great expression throughout.
SKU: ST.CN72P
ISBN 9790220228629.
A perfect seasonal choice, Onward we go is a consummate example of Thomas Hewitt Jonesâ??s feeling for young voices, and his passion for sharing the joy of Christmas through memorable tunes. A beautiful, arching melody carries the delightful verse by Canon Gordon Giles, which tells of children singing as they journey to the manger. Shepherds, angels and the Magi accompany them on their way, bearing gifts of love to honour the incarnation in faith, hope and reverence. Expressive and irresistible, words and music go straight to the heart, with a warmth especially inspired by the dedicatees, chorister-tutor Caroline Lenton-Ward and the childrenâ??s choir of St Stephenâ??s, South Dulwich, a church which also played a formative part in the composerâ??s musical upbringing. Onward we go may be performed by unison voices with organ or piano, or with organ or piano and additional flexible instrumental ensemble including any available upper strings and woodwind, plus optional cello, bass guitar or double bass, mark tree and tubular bells.A set of score and parts for the optional ensemble (Cat. No. Y373) will be available to purchase.
SKU: BR.OB-3210-30
ISBN 9790004300749. 10 x 12.5 inches.
SKU: BR.EB-9440
ISBN 9790004189177. 9 x 12 inches.
The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
