SKU: HL.48188116
As a prominent Recorder player himself, Michel Sanvoisin has extensive knowledge of the instrument and has been significantly instrumental in the revival of the instrument. He has compiled numerous, prolific books for the instrument, Play and Learn the Alto Recorder being no exception. The Alto Recorder is the most common accessible Recorder. Sanvoisin's Play and Learn the Alto Recorder provides excellent and clear instruction to progression on the instrument. The book addresses articulation, rhythm, and numerous pieces. For all aspiring players of the Recorder, Charbonnier's Play and Learn the Alto Recorder provides excellent insight and instruction for beginners..
SKU: HL.50510337
ISBN 9790080141441. UPC: 073999536621. 9.0x12.0x0.34 inches. Hungarian, English, German.
This volume in the ABC series continues the best traditions of conventional trombone teaching on the one hand and at the same time accommodates to present-day requirements and changing tastes. In concept and subject-matter it embraces the entire material for trombone teaching at the elementary level. It proceeds as far as the 7th position and provides learners with numerous studies, scale exercises and performance pieces. The pieces include many European folk melodies, extracts from classical works well adapted for the trombone, and a number of contemporary compositions written specifically for this instrument. The textual instructions are given in three languages: German, English and Hungarian. The piano accompaniment to this volume is published separetely (14144P)The trombonist Ferenc Steiner was born in 1931. From 1960 to 1991 he was a member of the Hungarian State Opera and the Philharmonic Society as well as the Hungarian Brass Ensemble. Education played a major role in the life of Ferenc Steiner as an author and editor of numerous pedagogical editions. He began teaching at the School of Music in Pecs, then moved on to the College for Officers of the Hungarian Defense Forces and later continued his teaching activity at the Liszt Academy in Budapest until 2001. He has passed away on the 25th of March in 2011.
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: BT.EMBZ14505A
English-German-Hungarian.
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BR.EB-9411
ISBN 9790004188859. 0 x 0 inches. German.
In preparing arrangements for conducting ensembles, for schools and music schools, you don't need the tricks of the pros, but specific arranging strategies tailored to your own ensemble, your own group. So, although the vast majority of arrangements are educationally motivated, lacking so far has been a reference book on educational arranging. Sounds Good, combining decades of didactic experience on the part of composer Felix Janosa and music educator Jorg Sommerfeld, is the first standard work on the technique and strategy of pedagogical arranging: a compendium, both inspiring with its compact as well as comprehensive approach, while also valuably time-saving with its well-developed systematic working methods and efficient working techniques. Numerous examples for duos, trios, class music-making, for inclusive ensembles, school orchestras, big bands, choirs, combos, intercultural ensembles and many more application fields offer a huge fund of practical ideas. A compact educational instrument guide describes which skills and abilities can be expected from beginners and at which point in time. Also covered is the topic of arranging without notes or with computers and electronics.Sounds Good contains over 200 music examples, most of them also accessible as digital files. It further offers 30 practice projects with sample solutions; numerous tables and overviews serve as a useful resource for the everyday, teaching-staff arrangers. And, last but not least, Sounds Good is an exciting foray into the most diverse fields of music education.It's hard to imagine what I might have become if this work had existed earlier. But it's never too late.... Gotz AlsmannArranging for your students: in school and music school - methodical and practice-orientedsonorous and impressive - profound instrumental didacticsinternally differentiated - from duo through to orchestrawith acoustic and electronic instrumentsin all genres30 practicing projects with sampling solutionsdigital supplemental material (XML)tables and overviews as sources for the everyday arranging routine.
SKU: HL.50603593
ISBN 9788881920709. UPC: 840126945102. 8.0x10.5x1.3 inches. Italian-English.
Donizetti's Lucrezia Borgia was premiered at Milan's Teatro alla Scala on 26 December 1833 and is considered one of the composer's most important and innovative operas of the 1830s. Although, because of censorship issues, particularly in the south of Italy, it was initially slow to become popular, by the late 1830s it had become one of the composer's most popular operas, both in Italy and abroad, and remained an essential part of the composer's oeuvre until at least the end of the nineteenth century. Remarkable for its daring subject matter (with an unconventional, forceful heroine), it is also renowned for its challenging mixture of the comic and the tragic, something very unusual at the time and clearly an important influence on Giuseppe Verdi's middle period masterpieces. The present reduction for voice and piano derives from the critical edition of the score, recently published in this catalog: is based on Donizetti's autograph manuscript (housed in the Ricordi Archives in Milan), on the libretto for the premiere, on several printed editions of voice and piano, and on numerous additional scores of the period. It presents for the first time all the numerous additions that the composer made to the score over the course of ten years: a fascinating record of his changing music dramatic attitudes during this period. There is also a synthetic historical reconstruction of the genesis of the opera and of the description of the Sources as well as a selection of most interest to singers of Critical Commentary Notes.Rappresentata per la prima volta al Teatro alla Scala il 26 dicembre 1833, Lucrezia Borgia e considerata una fra le piu importanti e innovative opere di Donizetti. Sebbene le resistenze della censura, soprattutto nel sud Italia, ne causarono inizialmente una lenta diffusione, dalla fine degli anni '30 dell'Ottocento essa divenne uno dei lavori piu popolari e significativi del compositore e tale rimase fino alla fine del XIX secolo. Notevole per il suo audace soggetto (con un'eroina non convenzionale e dalla forte personalita) essa e rinomata anche per l'impegnativa commistione di comico e tragico, un tratto piuttosto inusuale per l'epoca, che ebbe una chiara influenza sui capolavori verdiani di meta secolo. La presente riduzione per canto e pianoforte e condotta sull'edizione critica della partitura, da poco pubblicata in questo stesso catalogo: si basa sul manoscritto autografo di Donizetti (conservato presso l'Archivio Storico Ricordi di Milano), sul libretto della prima rappresentazione, su alcune riduzioni a stampa per canto e pianoforte e su varie altre fonti dell'epoca. L'edizione presenta per la prima volta tutte le aggiunte che il compositore apporto alla partitura nel corso di dieci anni, costituendo un'affascinante testimonianza dei mutevoli approcci di Donizetti alla materia drammatico musicale durante questa fase della sua carriera. Il volume comprende una sintesi della ricostruzione della genesi storica dell'opera e della descrizione delle fonti e una selezione di Note del Commento Critico fra quelle piu funzionali alle esigenze di cantanti e pianisti accompagnatori.
SKU: HL.48182941
UPC: 888680864439. 9.0x12.0x0.081 inches.
Composed for the Paris Conservatoire contest, Oriental fantasies is a piece by Max d'Ollone for Bb Clarinet and Piano accompaniment. Really melodious, this piece is quite complex to play. This work starts slowly, with some accelerations, followed by a more quiet and melancholic part. The end is more lyrical and features some trills and numerous accidentals. Max d'Ollone (1875-1959) is a French musician who won the first Grand Prix de Rome in 1897. He was a great professor and composer, who produced numerous pieces including ballets, symphonies and chamber music..
SKU: HL.48180090
UPC: 888680795412. 9x12 inches.
“Variations on an Ancient Tune” by Carlos Salzedo is the third and final work of a series called Three Pieces'for Solo Pedal Harp. Difficult to play, it requires good mastering of the instrument and of its technique, including the pedals. Using the full range of the instrument, this work features numerous trills, glissandos and accidentals among other technicalities and is divided between really fast and more quiet parts. Really delightful, this melodious piece is composed of a main theme and eleven variations: Main Theme (Maestoso) is composed of chords I. A tempo, Graziamente II. Tempo di Bourrée III. Scherzando IV. L'Istesso tempo V. Maestoso VI. Vigorosamente VII. Molto piú lento VIII. Vivo risoluto IX. Lento, tempo di Barcaruola X. Como un preludio XI. Fuga Finishing on the main theme “A Tempo,” this wonderful work is an amazing piece to include in a concert or a recital. Carlos Salzedo (1885-1961) was a French harpist and composer who wrote and transcribed numerous pieces for the harp. He also wrote some pedagogical publications for harpists.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: BT.EMBZ14567A
The main part of Supplement Volume 12 features the predecessor of the Grandes Études de Paganini, a series of six études written after Paganini between 1838 and 1840, and referred to by Liszt as transcendent performance (Études d'exécution transcendante d'apres Paganini). The series was inspired not only by the virtuoso violinist and composer's Caprices and Violin Concerto in B minor but also by Schumann's Paganini Études, which Liszt presumably encountered thanks to Clara Wieck at the beginning of 1838. The volume also includes the first and second solo piano versions of Die Zelle in Nonnenwerth (1840 and 1841), which Liszt composed a number of times in several versions,as well as two Wagner transcriptions and the first versions of adaptations of two works by Russian composers. A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously with the Complete Edition volume in cloth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume. The GRANDES ETUDES D´APRES PAGANINI are a series of six études for the piano written by Liszt. The pieces are based on the compositions of Niccolò Paganini for violin. Other pieces based on various other composers are also included in the volume. Adetailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthis paperback for practical purposes, its cloth-bound Complete Edition volume is also published with the critical notes. Die GRANDES ETUDES D´APRES PAGANINI umfassen sechs Etüden von Liszt, die auf Kompositionen von Niccolò Paganini für Violine zurückgehen. Darüber hinaus enthält die Ausgabe eine Reihe anderer Etüden von Liszt, die auf verschiedene Komponistenzurückgehen. Eine detaillierte Beschreibung auf Ungarisch, Englisch und Deutsch, die kritische Forschungsergebnisse aufgreift, eine Vielzahl an Manuskript-Facsimiles und kritischen Anmerkungen machen diese gebundene Ausgabe der bekannten New LisztEdition besonders wertvoll. Das Pendant im Taschenbuchformat enthält ebenfalls die kritischen Anmerkungen.
SKU: GI.G-3526
This time-honored Easter classic has numerous performance options.Â
SKU: HL.14041762
9.0x12.0x0.071 inches.
'Romance for violin and piano is a short, reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist, Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing, numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece, the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.' - Helen GrimeBorn in 1981, Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07, Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO, London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding, Oliver Knussen, Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Halle from the.
SKU: HL.48181084
UPC: 888680906689. 9.0x12.0x0.113 inches.
Sonata for Violin and Cello composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire, a professor at the National Conservatoire. Ideal for a recital or for a contest, this sonata in four parts is quite challenging for both instruments and would require advanced skills. The cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso, 2. Vivace, 3. Grave and 4. Allegro Assai. This really nice sonata will be a delight to play and to listen to. Luigi Boccherini (1743-1806) composed numerous pieces for various instruments, including cello duets, chamber music, cantatas, ballets, orchestral music, masses, and a large amount of music for strings.
SKU: BT.ALHE32397
French.
Chant Premier, Op. 103 is a sonata for Tenor Saxophone and Piano by Marcel Mihalovici. Introduced by some verses by the Comte de Lautréamont, this very melodious piece was dedicated to S.A.S the Prince Raigner III of Monaco and isperfect to be played in a contest or for a recital. It was commissioned by the French Cultural Council. Considered as hard, this piece was initially written for Tenor Saxophone and Orchestra. This reduction starts _x001A_Moderato_x001A_,with a tempo between 76 and 80 and requires the mastering of numerous technical aspects: trills, glissandos, accidentals and ornaments among others. The various nuances make this piece really interesting and challenging to play. Marcel Mihalovici (1898-1995) was a French-Romanian born contemporary composer, who produced numerous works, including plays, small operas, sonatas and studies.
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