SKU: HL.51481453

UPC: 196288191933. 9.25x12.25x0.283 inches.

This extraordinary edition includes a selection of ten piano works by Chinese composers from the second half of the 20th century. They are marked by Western influences while also reflecting the multifaceted folk music of China. They range from short character pieces to sonatinas, from simple song arrangements to multi-movement cycles. These works are of medium difficulty and offer a representative cross-section of a musical cosmos that remains largely unknown in Europe. Predominantly pentatonic in character, these works unite the magic of Far Eastern music with the sound of the piano. We were able to get the well-known pianist Jingxian (“Jane”) Xie from Shanghai to select these compositions, which she herself regularly performs in the concert hall. She not only provided the fingerings, but has also written a preface that offers a general overview of modern Chinese piano music and introductions to each of the individual pieces. CONTENTS: Wei Qu: Flower Drum Pei-Xun Chen: Thunder during a Drought Li-San Wang: Sonatina Hu-Wei Huang: Pictures from Bashu Yi-Qiang Sun: Threshing Dance Wang-Hua Chu: The Moon Reflected in the Erquan Spring Jian-Zhon wang: A Hundred Birds Pay Homage to the Phoenix Jian-Zhong Wang: Colorful Clouds Chasing the Moon Ying-Hai Li: Adieux at Yangguan Li-San Wang: The Sound of the Waves.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: HL.49002030

ISBN 9790001116985. 9.0x12.0x0.425 inches.

The musical baroque of Eastern Europe is not enough known. In this edition, a number of dances from Hungary have been arranged reflecting clearly the characteristic features of this style. Flutes, oboes and harpsichord are ad libitum, the pieces can also be performed effectively with strings alone.

SKU: HL.49046272

ISBN 9781540064691. UPC: 888680967178.

In his compositions, Xuntian He no shackles of any cultural or academic tradition. He does not feel obliged to either Western or Eastern culture. In Kalavinka Sutra, for example, he explores, in accordance with his individual style, the surprising melodic and rhythmic structures on the piano.

SKU: AP.40459S

UPC: 038081454191. English.

What happens when we mix Santa, tradition, and old-time fiddling? Of course, we get Fiddler on the Housetop! In this tongue-in-cheek and thoroughly playable arrangement, young string players will play like eastern European fiddlers, then spin into an upbeat and driving American fiddle version of the holiday standard. Whether a member of the orchestra or the audience, here's a humorous, toe-tapping arrangement of Up on the Housetop like you've never heard it before!

SKU: CL.LDP-7300-00

Inspired by the debka, a Middle Eastern folk dance, this exuberant piece gives less experienced bands the opportunity to sound big and mature. Supported by lively percussion, this piece cooks! Everyone will love it!

SKU: TM.02344SET

Choral Cantata, Ed by Eggebrecht, What God Ordains is Always Good. Cem in sc.

SKU: BT.HU-0633-250

Dutch.

SKU: MN.CH-1271

Scripture: Psalms 23.

The piece is a blend of both traditional and exotic harmonies with Plainchant weaving in and around the blocks of chordal sounds. The rhythms should be considered text based, that is, the words drive the notes, not the other way around. Common Plainchant performance practices with slight accelerandi, ritards, and a general feeling of rubato should prevail throughout. It is a featured work on the Cantori Domino Eastern European tour, Fall of 2010. Duration 3:30.

SKU: PR.701185010

UPC: 888680101275.

“The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..