SKU: FJ.ST6440S
English.
For the more advanced, yet young at heart musicians, Mother Goose Suite brings five French children's tales to life in this 20th century masterpiece. Ravel's signature sophisticated lushness combined with simple elegance is found in this abridged arrangement. The scenes described are: Pavanne of the Sleeping Beauty, Tom Thumb, Empress of the Pagodas, The Conversation of Beauty and the Beast, and The Enchanted Garden. An incredible centerpiece for your next concert.
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: FJ.ST6440
UPC: 214111384510. English.
SKU: HL.44007313
UPC: 884088245092. 9x12 inches. English-German-French-Dutch.
Paul and Barry Ryan were identical twin sons of 1950's pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single 'Don't Bring Me Your Heartaches' reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety ofartists, including punk legends The Damned. De eeneiige tweelingbroers Paul en Barry Ryan vormden al een zangduo voor hun vijftiende verjaardag. In 1965 tekenden ze een contract bij Decca en werden ze op een briljante manier voor het voetlicht gebracht als keurige mode-idolen,maar hun succes als tweelingartiesten duurde slechts drie jaar. In 1968 begon Barry aan een solocarriere terwijl Paul zich concentreerde op het schrijver- en producerschap. Eloise, een stevig georkestreerd, melodramatischgezongen nummer, was een vroege en succesvolle vrucht van deze samenwerking. De song werd in de loop der tijd vertolkt door diverse artiesten.Paul und Barry Ryan waren die Zwillingssohne der 50er-Jahre-Popsangerin Marion Ryan. Den beiden Brudern war eine Zukunft als Popstars in die Wiege gelegt. Bereits vor ihrem 15. Geburtstag traten sie als Duo auf. Spater verlegte sich Paul jedoch aufs Songschreiben und Barry trat solo auf. Der Hit Eloise mit seinem melodramatischen Gesangsstil und dem stark orchestrierten Hintergrund ist ein Resultat dieser erfolgreichen Zusammenarbeit und wurde in der Folge von zahlreichen Kunstlern neu interpretiert. Philip Sparke machte den Pop-Evergreen nun auch fur Blasorchester spielbar.Paul et Barry Ryan etaient jumeaux, nes le 24 octobre 1948, fils de la chanteuse pop des annees 1950 Marion Ryan. Formes pour la celebrite, ils ont commence a chanter en duo avant l'age de quinze ans. En 1965 ils ont signe un contrat d'enregistrement avec Decca qui a commercialise leur image soignee d'icones de la mode. Leur premier single Don't Bring Me Your Heartaches est parvenu au top 20 du hit-parade britannique, mais leur succes a deux n'a dure que trois ans. En 1968, Barry a entrepris une carriere solo tandis que Paul s'est concentre sur la composition et la production. Eloise, avec son style vocal melodramatique et son accompagnement tres orchestral, etaitun succes precoce pour cette nouvelle collaboration. De nombreux artistes l'ont depuis reprise, telles que les legendes du punk The Damned. Figli gemelli di Marion Ryan, celebre cantante pop degli anni '50, Paul e Barry Ryan si esibivano insieme gia prima di aver compiuto quindici anni.Nel 1965 firmano un contratto con la casa discografica Decca e commercializzano con successo la loro immagine di icone della moda. Il primo single entra nelle top 20 britanniche. Nel 1968, Barry si lancia nella carriera di solista, mentre Paul si concentra sulla composizione e la produzione. Eloise, una canzone dallo stile vocale melodrammatico che si sviluppa su un importante accompagnamento orchestrale, e uno dei primi successi della collaborazione tra i due fratelli.
SKU: HL.44011228
UPC: 884088876845. 9.0x12.0x1.477 inches. English-German-French-Dutch.
Diamond Concerto was commissioned by Musikverein Morschied from Germany - Dr. Eric Grandjean, conductor - for a special concert featuring Steven Mead as guest soloist. Together they gave the world premiere on 28th April 2012 in the town theatre of Idar-Oberstein.The commission is a highlight in the 30-year friendship between composer and soloist, which has included many mutual CD projects and concerts and, now, a concerto. Sparke had Steven Mead's special euphonium sound in his head throughout the composition process and made free use of the variety of styles which the world-renowned virtuoso has made his own during his highly successful solo career.The village ofMorschied lies to the west of Frankfurt am Main in the area known as the German Road of Precious Stones, which is famous for its thriving gem industry. Because of this it was decided to give the commission a local connection by choosing the title, Diamond Concerto. Each of the three movements is named after a famous diamond:1 EARTH STARis rather stern in mood, opening with a free fantasy for the soloist over a static chord from the band. This leads to an Allegro Moderato in minor mode where small motives are gradually repeated and developed by both band and soloist.2 OCEAN DREAMuses a varied quote from the composer's Music for Battle Creek, including a melting slow melody that was originally written with Steven Mead in mind.3 BLUE HEARTwas written, at Steven Mead's suggestion, in bebop style and takes the form of a jazz waltz. The quasi-improvisatory central section features a call-and-response passage for the soloist and upper woodwinds.Soloist: Difficulty 6Diamond Concerto is available for euphonium and piano (AMP 374-401) as well as for euphonium and brass band (AMP 354-030). Diamond Concerto is geschreven in opdracht van de Duitse Musikverein Morschied - met dirigent Eric Grandjean - voor een speciaal concert met Steven Mead als gastsolist. De wereldpremiere vond plaats op 28 april 2012 in het Stadttheater van Idar-Oberstein.De opdracht vormt een hoogtepunt in de dertig jaar lange vriendschap van de componist en de solist - waarin ze aan vele gezamenlijke cd-projecten en concerten werkten. En nu is er dan dit concert. Sparke heeft het gecomponeerd met Steven Meads geheel eigen euphoniumklank in het achterhoofd. Hij paste daarbij de diverse stijlen toe die de wereldberoemde virtuoos zich heeft eigen gemaakt tijdens zijn succesvollesolocarriere.Het plaatsje Morschied ligt ten westen van Frankfurt am Main, in het gebied dat bekendstaat als de Deutsche Edelsteinstrasse. Het is beroemd vanwege zijn bloeiende edelstenenindustrie. Om het werk een lokaal tintje te geven is een toepasselijke titel gekozen: Diamond Concerto. Elk van de drie delen is genoemd naar een beroemde edelsteen:1 EARTH STARDit deel is tamelijk sober van sfeer. Het opent met een vrije fantasie van de solist over een statisch akkoord in het orkest. Dan volgt een allegro moderato in mineur, met kleine motieven die geleidelijk worden herhaald en uitgewerkt door zowel het orkest als de solist.2 OCEAN DREAMHierin wordt een citaat van Sparke's werk Music for Battle Creek naar voren gebracht, met een vloeiende, langzame melodie die van oorsprong werd geschreven met het spel van Steven Mead in gedachten.3 BLUE HEARTNaar een suggestie van Steven Mead zelf is dit deel geschreven in bebopstijl. Het neemt de vorm aan van een jazzwals. De quasi-improvisatorische centrale passage omvat een vraag-en-antwoordspel voor de solist en het hoge hout.Solo: moeilijkheidsgraad 6Diamond Concertois eveneens verkrijgbaar voor euphonium en piano (AMP 374-401) en voor euphonium en brass band (AMP 354-030). Geschrieben fur den Musikverein Morschied, westlich von Frankfurt am Main an der Deutschen Edelsteinstrasse gelegen, wurde jeder der drei Satze von Diamond Concerto nach einem beruhmten Diamanten benannt: 1 EARTH STAR ist eher stimmungstechnisch ein Stern. Der Satz beginnt mit einer freien Fantasie des Solisten uber einem statischen Akkord des Orchesters. Dieses fuhrt zu einem Allegro Moderato in Moll, in welchem kurze Motive von sowohl Orchester als auch Solist nach und nach wiederholt und entwickelt werden.2 OCEAN DREAM verwendet ein variiertes Zitat aus Music for Battle Creek von Philip Sparke, das ein schmelzende Melodie enthalt, die schon im Gedanken an Stevengeschrieben worden war.3 BLUE HEART wurde auf Steven Meads Anregung hin im Bebop-Stil komponiert und weist die Form eines Jazz Waltz auf. Der quasi-improvisatorische Mittelteil enthalt eine Passage im Call-and-Response-Muster, die sich zwischen Solist und den hohen Holzblasern abspielt.Solist: Schwierigkeitsgrad 6Diamond Concerto ist fur Euphonium und Klavier erhaltlich (AMP 374-401) sowie fur Euphonium und Brass Band (AMP 354-030). Diamond Concerto est une œuvre de commande de la formation allemande Musikverein Morschied, dirigee par le Dr Eric Grandjean, pour un concert avec un invite special, le soliste Steven Mead. Ensemble, ils ont cree cette œuvre le 28 avril 2012 au theatre de la ville d'Idar-Oberstein.Cette commande represente l'un des points culminants d'une amitie de trente annees entre le compositeur et le soliste, leur relation ayant donne naissance a de nombreux enregistrements et concerts et, maintenant, a un concerto. Pendant la composition de cette œuvre, Sparke avait sans cesse a l'esprit le son bien particulier de l'euphonium de Steven Mead, et il a employe librement lavariete de styles que ce virtuose mondialement connu a adoptes au cours de sa brillante carriere de soliste.Le village de Morschied se trouve a l'ouest de Francfort-sur-le-Main, dans la region surnommee Route allemande des pierres precieuses, celebre pour son industrie de la joaillerie. C'est pourquoi le compositeur a decide de saluer cette province en intitulant son œuvre Diamond Concerto. Les trois mouvements sont chacun nommes d'apres un diamant celebre :1 EARTH STARDe caractere plutot serieux, ce mouvement debute avec une fantaisie libre pour le soliste sur un accord statique de l'orchestre. Vient ensuite un Allegro Moderato en mode mineur ou de courts motifs sont progressivement repetes et developpes par l'orchestre et le soliste.2 OCEAN DREAML'on pourra entendre ici une variante d'un extrait de Music for Battle Creek, incluant une melodie lente et emouvante, que le compositeur ecrivit alors dans l'optique d'une future interpretation realisee par Steven Mead.3 BLUE HEARTSuivant l'idee de Steven Mead, ce mouvement est ecrit dans un style de be-bop et prend la forme d'une valse jazzy. La partie centrale, quasi-improvisee, comprend un passage d'appel et reponse entre le soliste et les bois.Soliste: Difficulte 6Diamond Concerto est aussi disponible pour euphonium et piano (AMP 374-401) et euphonium et brass.
SKU: HL.44011229
UPC: 884088876852. 9x12 inches. English-German-French-Dutch.
SKU: DB.01-00681
ISBN 9790012200284.
Contemporary Classical meets Jazz Grooves.Theremin's Journey is quite different. True, there is a piano - which plays bluesy, filmic, generally quite unmemorable music - but add in the theremin and pre-recorded electronics and the listener is off on a bizarre jazz meets sci-fi meets film-pop journey. The high-pitched spooky whine of the theremin is unmistakable, and unforgettable in small doses, as here; the work was in fact commissioned by Joanne Pearce Martin, who plays both theremin and piano. This track actually carries a 'health' warning on the cover: Crackles are part of the electronic track and are intentional: the CD is not defective! As it happens, the crackling is not particularly noticeable, and in general the electronics are atmospheric and additive in combination with the theremin. Especially the first and last two or three minutes of the 'journey' are really quite fascinating musically. (musicweb-international.com, May 2011) // Theremin's Journey places that curiously otherworldly instrument and piano in cheeky avant-garde tandem with electronic sonorities...(GRAMOPHONE, August 2011).
SKU: BA.BA04082
ISBN 9790006497751. 33 x 25.8 cm inches. Text Language: English, Italian.
The oratorio “ Athalia †tells the Old Testament story of the Queen Athalia . Handel composed it in 1733 for Oxford University where it was first performed later that year during the celebrations for the awarding of honorary degrees. The great s uccess of this performance is generally regarded as a reason for Handel’s renewed interest in the oratorio form. As was frequently the case, Handel also carried on composing this work after the first performance. Thus, for the version which was performed in London in 1735, he introduced numbers in Italian for the Italian singer Carestini in the role of Joad . He also ended the work with an organ concerto. For the performance in 1756 he drew on other works for the third act. Conversely, large parts of the music to Athalia form the basis for other works by Handel such as “ Parnasso in festa †(HWV 73) and the Wedding Anthem (HWV 262). The piano reduction by Andreas Köhs , based on the Urtext of the “Halle Handel†Edition, includes the main version of 1733 together with an appendix containing the versions of 1735 and 1756 as well as the outline of a planned version of 1743 which was not performed.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49046988
ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.
SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).
SKU: CA.966300
ISBN 9790007167684. Language: Latin.
Matsushita has conceived his setting of the Pentecost sequence entirely in the Renaissance polychoral tradition. He employs the full choir (within individual choirs divisi passages also occasionally occur) solely for magnificent sounding climaxes at conclusions, prior to these occurrences he repeatedly combines groups of voices or he allows individual choirs to sing, effectively, in alternation. This type of reduction is even carried over to quasi Gregorian passages sung by one voice in unison. The piece is tonal throughout, with occasional diatonic seasoning. The consistently homophonic setting is oriented towards the declamation of the Latin text. Melodically it is in the style of modal, Gregorian structures, without quoting the well-known sequence. A fast, rhythmically syncopated declamatory section introduces, the dramaturgically appropriate climax to the solemn conclusion, which, molto legato, returns once again with large upward swings to the text of the first strophe. Matsushita writes in a comfortable vocal range so that the work can be sung, at the same time, in both a relaxed and grandiose manner. For large choirs, even for oratorio choirs with only limited experience in a cappella singing, this piece is aptly suited for performance and the music is both grateful and brings much joy for singers.
SKU: HL.50561863
6.75x10.5x0.07 inches. French.
Nouvelle Etude for solo piano premiered by Steven van Hauwaert in Los Angeles in the Piano Sphere concert series on June 2nd 2015.Born in Caen in 1968, Eric Tanguy has become one of the most widely performed and broadcast French composers ofour days. His output comprises more than hundred works to this day, ranging from solo pieces to concertos, vocal pieces and symphonic works. They have been included into the repertoire of major performers of our time. His reputation as a composer andprofessor has brought him invitations for masterclasses and lectures all around the world.Ne a Caen en 1968, Eric Tanguy est a ce jour l'un des compositeurs francais de sa generation les plus joues et diffuses a travers le monde. Ne en 1968 et elu compositeur de l'annee par les Victoires de la musique classique 2004 et 2008, Eric Tanguy asuivi l'enseignement d'Horatiu Radulescu, puis celui d'Ivo Malec et de Gerard Grisey et Betsy Jolas au Conservatoire national superieur de musique de Paris (Prix de composition en 1991).En novembre 2012, il a recu le Grand prix de la SACEMpour sa carriere et en novembre 2014 le Grand prix Lyceen des compositeurs.Les oeuvres de son catalogue,quatre-vingt-dix pieces, du solo jusqu'aux concertos, pieces vocales et symphoniques - figurentau repertoire des interpretes majeurs de notre temps.
SKU: ST.C525
ISBN 9790570815258.
The Ukrainian Suite for wind quintet dates from 1983 and is in three movements. In the opening Allegretto, there is a hint of minimalist techniques, where the unusual harmonic shifts will challenge the players to forget conventional cadences. Several parts share parallel rhythms in many places, while one part carries the melodic material. Similar principles can be seen at work in the Moderato con moto second movement, where persistent repeated notes accompany the melody. The third movement, also Moderato at the start, builds towards a final section where all five parts share very similar note patterns, and excitement is generated by the contrasting dynamics and the relentless drive of the rhythms. This quintet was originally published by Phylloscopus Publications in 2001 and set from the manuscript by C.M.M. Nex and F.H. Nex.Flute, Oboe, Clarinet in B flat and A, Horn in F and Bassoon. Score and 5 Parts included.Former Spartan Press Cat. No.: PP391.
SKU: BA.BVK02403
ISBN 9783761824030. 18.9 x 14 cm inches. Preface: Seidel, Wilhelm / Loos, Helmut.
Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European cultureAs one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer’s death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated.This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe.The edition of the complete lettersThis scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made.This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos.The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector’s item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived.The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search.(The 12 volumes as well as the CD-ROM can only be purchased complete).- German text onlyThe EditorsHelmut Loos is Professor of Musicology at the University of Leipzig. He specialises in the music of the 19th and 20th centuries, in particular the reception of Beethoven, sacred music and links between Germany and Central and Eastern Europe. Wilhelm Seidel was professor at the universities of Heidelberg, Marburg and Leipzig. His publications are devoted to the temporal structure of music, music aesthetics in the 18th and 19th centuries and music of the 16th to 20th centuries, currently on Mozart and Mendelssohn.
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