SKU: FG.042-09102-9
ISBN 979-0-042-09102-9.
The Englund piano quintet from 1941 abounds in youthful energy. It could be regarded as a study in advanced contrapuntal technique, complete with imitation, strict canons and fugatos. In keeping with the great Romantic piano quintets, the piano dominates and calls for a player with not only a brilliant technique but also an ability to make the clusters of piano notes tone in with the dynamic level of the strings.
SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
SKU: CA.3123205
ISBN 9790007172299. Language: Latin.
Bach's B minor Mass is among the greatest and most ambitious works of all time. The various stages of composition of the Mass occupied the composer for over two decades: beginning with the Sanctus (1724), by way of the Missa of 1733, to the remaining movements of the Ordinary, which were composed during his last years. Thus the Mass, in its wealth of forms with arias, duets, as well as concertante and fugal choruses, displays the essence of Bach's skill and personal style. The greatest musical work of art of all times and all peoples (to quote the enthusiastic Hans Georg Nageli, who first edited the Mass in 1818) and one of the most demanding choral works in the repertoire is presented by Frieder Bernius, the Kammerchor Stuttgart and the Barockorchester Stuttgart in a stellar recording based on the principles of historical performance practice (Carus 83.211). Awarded the Gramophone - Editor's Choice. Score available separately - see item CA.3123200.
SKU: CL.012-1817-00
A thematically derived work developed fugally, ascending to climactic moments, and then subsid ing in melodious contrast. This serious contest oriented piece ends with an extended ostinato.
About Bach Series arranged by Alfred Reed
Masterful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!
SKU: LM.24713
ISBN 9790230947138.
SKU: SS.50600012
Performing Materials: score and parts Composer's Note: A fancy is an English version of the Italian capriccio, a form introduced in the 16th century for works in various media wherein the force of imagination has better success than observation of the rules of art (Furetiere, Dictionnaire universel). The term is also used to describe a suite of dances. Fred's Fancies is a series of six dances that are quite capricious in nature, a fair portrait of the person to whom the work is dedicated. The suite's musical material is introduced in the first movement, an athletic Allegro. The following four movements emphasize some aspect of the first. The second, Waltz, is a quiet variation of the first movement's opening gesture. The third, Manic, combines the opening gesture with a secondary theme emphasizing descending perfect fourths separated by half-steps. The fourth movement, Arioso, re-visits themes from the Waltz, now set in a freer rhythm. The fifth, Favotte, combines elements of the gavotte with fugal episodes. The cycle culminates in a speedy final movement, Vivace, that brings back the all principal themes of cycle.
SKU: M7.DOHR-20486
ISBN 9790202044865.
Louis Vierne komponierte seine Orchestersymphonie im Sommer 1907 in Juziers. Wie kaum ein zweites Werk zeugt sie von den Schicksalsschlägen des Komponisten: Von Geburt an fast blind musste Vierne nicht nur die Trennung von seiner Frau, sondern auch die Folgen eines schweren Verkehrsunfalles verarbeiten. Der erste Satz zählt mit seinen 600 Takten zu den längsten Sonatenhauptsatzformen, die Vierne jemals schrieb. Das Lamento ist eine der berührendsten musikalischen Äußerungen des Komponisten. Das Scherzo - ein wenig an den Zauberlehrling von Paul Dukas erinnernd - präsentiert sich am Schluss als poesievolles Fugato mit Anklängen an das Hauptthema des Finales. Das Finale wirkt in seinem Optimismus wie ein neuerliches Hinwenden zum Leben - trotz allem. (Thomas Schmögner).
SKU: CL.CTS-7709-01
Legendary composer W. Francis McBeth once said, If Claude Smith only wrote the fanfare to Eternal Father, he would still be a legend. Smith takes the Navy’s hymn as the basis for his fanfare. This famous hymn tune, normally in the major key, has now been placed in the minor key then transitions to Allegro Vivace. The hymn tune is put through its paces including several variations and two fugatos (one for the woodwinds and one for brass). A short transition,(including the famous 7/8 measure!) to the now well-known setting for French horn quartet, gives us an emotional rendition of the original hymn tune now in the major key. The full band plays the hymn, and a timpani roll takes us back to the original fanfare now in C major. A classic of literature and a composition which will provide a meaningful experience for musician and audience member alike.
SKU: NR.17743
SKU: CA.3123213
ISBN 9790007211028. Language: Latin.
Bach's B minor Mass is among the greatest and most ambitious works of all time. The various stages of composition of the Mass occupied the composer for over two decades: beginning with the Sanctus (1724), by way of the Missa of 1733, to the remaining movements of the Ordinary, which were composed during his last years. Thus the Mass, in its wealth of forms with arias, duets, as well as concertante and fugal choruses, displays the essence of Bach's skill and personal style. The greatest musical work of art of all times and all peoples (to quote the enthusiastic Hans Georg Nageli, who first edited the Mass in 1818) and one of the most demanding choral works in the repertoire is presented by Frieder Bernius, the Kammerchor Stuttgart and the Barockorchester Stuttgart in a stellar recording based on the principles of historical performance practice (Carus 83.211). Awarded the Gramophone - Editor's Choice. Score and part available separately - see item CA.3123200.
SKU: BT.DHP-1094672-020
9x12 inches. English-German-French-Dutch.
Omaggio werd in 2008 geschreven in opdracht van - en tevens opgedragen aan - het FKKLBW, het Fanfarekorps Koninklijke Landmacht Bereden Wapens, en zijn dirigent majoor Tijmen Botma.Het gaat om een vrije bewerking van het laatste deel uit de beroemde derde symfonie (de ‘Orgelsymfonie’) van Camille Saint-Saëns. De opdrachtgever had als wens dat het originele thema goed herkenbaar zou blijven. Het originele thema is gedurende de compositie twee keer te beluisteren, maar wordt steeds weer veranderd - of er ontstaan nieuwe thema’s door motivische variaties op het origineel. Daarbij staat het begin, maar ook het fugatische middengedeelte, in groot contrast met de virtuoze enveeleisende allegropassage. Na een korte herhaling van de klankrijke inleiding mondt Omaggio uit in een sprankelende coda.
SKU: HL.49007606
ISBN 9790001081689. 9.0x12.0x0.33 inches.
SKU: CA.5453012
ISBN 9790007226169. Language: Latin.
The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and part available separately - see item CA.5453000.
SKU: OU.9780193577671
ISBN 9780193577671. 12 x 8 inches.
Mathias' third and final quartet was commissioned by the 1986 Harrogate International Festival and premiered there in August that year by the Medici Quartet. It has three movements: the first takes the form of a sonata, the second starts off as mysterious and lyrical and moves into a fiery climax, and the third uses exciting fugal passages and 'scherzando' sections, which make for a thrilling conclusion.
SKU: CA.5453019
ISBN 9790007145378. Language: Latin.
The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and parts available separately - see item CA.5453000.
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