SKU: BR.EB-9413
ISBN 9790004188873. 9 x 12 inches.
For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.
SKU: BR.CHB-5380-00
ISBN 9790004413814. 7.5 x 10.5 inches. German / Latin.
As director of the Bavarian Radio Choir, Howard Arman has been actively engaged with international Christmas carols through various Christmas-related CD productions in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du frohliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du frohliche and classical double choir settings such as Resonet in laudibus. The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It's a Birthday and Wasn't That a Mighty Day to form a medley, Ain't That a Rockin' gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance.
SKU: AP.48962
UPC: 038081562865. English.
Jon Batiste's cover for Pixar's Soul brings this feel-good Curtis Mayfield song to a whole new generation. Built on a soulful groove, jazzy twists, and and upbeat vibe, it's everywhere! First made famous by The Impressions, a 60s group of which Mayfield was a member, this happy hit has stood the test of time, recorded by many diverse artists over the years. The arranger adds his own authentic touch with some gospel inflections and interjections. It's all right, have a good time, 'cause it's all right!
SKU: AP.48963
UPC: 038081562872. English.
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: HL.283918
ISBN 9781540036230. UPC: 888680796600. 9.0x12.0x0.78 inches.
SKU: AP.48964
UPC: 038081562889. English.
SKU: HL.233151
ISBN 9788759886427. 10.0x14.5 inches. English.
Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini's famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point ofdistraction - and the secret behind it being hauled through the wringer by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I'll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it'll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn't end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it the one-and-only, the real thing, if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others's equal. Poul Ruders.
SKU: AP.48965
UPC: 038081562896. English.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
