SKU: HL.49004926
ISBN 9781458413918. UPC: 884088601546. 9.0x12.0x0.065 inches. English(UK).
Inspired by the concept of the serenading lover. In two colorful sections. Advanced Level. Inspired by the concept of the serenading lover. In two colourful sections. Advanced Level.Inspired by the concept of the serenading lover. In two colorful sections. Advanced Level. Inspired by the concept of the serenading lover. In two colorful sections. Advanced Level. Inspired by the concept of the serenading lover. In two colorful sections. Advanced Level. This demanding work for violin and piano by contemporary American composer Augusta Read Thomas (*1964 in New York State) was inspired by the concept of the serenading lover. Also available for viola and piano (HL50490617).
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
SKU: YM.GTW01100445
ISBN 9784636103052. 8.5 x 12 inches.
Here, you can enjoy the beautiful Japanese classic tunes expressing the changing seasonal sentiments in this book. It features 25 songs, mainly nursery rhymes, children's songs, and shoka songs, and it comes with a karaoke CD of piano accompaniment. Please enjoy these wonderful arrangements, which are perfect for recitals and concerts.
SKU: HL.49045738
ISBN 9790001166218. UPC: 888680735210. 9.0x12.0x0.08 inches.
This treatment of the affliction of love is based on Kreisler's preamble and the later pianoforte transcription by Rachmaninoff. The original and arrangement combine to create a virtuoso and effective solo piece.
SKU: BA.BA09099-92
ISBN 9790006565733. 31 x 24.3 cm inches. Key: E minor. Preface: Larry R. Todd.
Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from B�¤renreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer�s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: HH.HH423-FSP
ISBN 9790708146247.
Eberl's Sonata in D major, Op. 20, the sixth of seven sonatas with violin, was composed around 1803 and dedicated to Dorothea Ertmann, the highly regarded pianist who many have suggested as Beethoven's 'Immortal Beloved', and to whom that composer dedicated his Piano Sonata in A major, Op. 101. Unlike many of Eberl's lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op. 20 shares much of the musical ambition and quality of Beethoven's works in this genre. 1803 saw the publication of Eberl's Op. 20, and Beethoven's set of three sonatas with violin, Op. 30, all produced by the Bureau des Arts et d'Industrie firm in Vienna. Beethoven's set were advertised for sale in the Wiener Zeitung in May 1803, days after the premiere of his Op. 47 sonata with violin (given by George Bridgetower and Beethoven, but later dedicated to Rudolphe Kreutzer). Eberl's Op. 20 was advertised in the Wiener Zeitung six weeks later, in July 1803.
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