SKU: BT.DHP-1135315-070

ISBN 9789043146814. 9x12 inches. English-German-French-Dutch.

More Classical Highlights is the follow-up to Classical Highlights, a collection featuring arrangements of classical themes dating from the 17th century up to the19th century. The parts are quite easy and attractively written, but the arrangements stay as faithful as possible to the original works. Baroque music is represented with two highlights: the well-known Canon by Pachelbel may well be the most performed 17th century composition. The power of the piece lies in a bass line of only eight notes, above which the melodic line of the round itself develops. Réjouissance from Music for the Royal Fireworks is a very joyful composition bythe Anglo-German baroque composer Handel. The 18th century classical style gives us the refined minuet by Boccherini, the Italian composer who wrote a wealth of chamber music. The 19th century features in three famous works: the lively Marche Militaire No 1 by the Austrian composer Schubert originates from 3 Marches Militaires for four-handed piano. The Can Can from Orphée aux enfers (Orpheus in the Underworld) is the best-known separately performed piece by the operetta composer Offenbach. Following this exciting dance music there is the beautiful, lofty Largo theme from the second movement of Czech composer Dvorákâ??s From the New World Symphony. In short: Six varying arrangements - challenging and very suitable for performances!

More Classical Highlights is het vervolg op Classical Highlights, een verzameling arrangementen van klassieke thema´s die dateren uit de periode van de 17e eeuw tot en met de 19e eeuw. De partijen zijn eenvoudig en aantrekkelijk geschreven; tegelijkertijd blijven de arrangementen dicht bij het origineel. De barokmuziek is vertegenwoordigd met twee highlights. De bekende Canon van Pachelbel is wellicht de meest gespeelde 17e-eeuwse compositie. De kracht ervan ligt in een baslijn van slechts acht noten waarboven zich het lijnenspel van de canon ontspint. Réjouissance uit Music for the Royal Fireworks is een zeer opgewekte compositie van deDuits-Engelse barokcomponist Händel. De 18e-eeuwse klassieke stijl horen we terug in het verfijnde menuet van Boccherini, een Italiaanse componist die een schat aan kamermuziek schreef. De 19e eeuw komt naar voren in drie beroemde stukken. De uitbundige Marche militaire nr. 1 van de Oostenrijkse componist Schubert komt uit 3 Marches militaires voor vierhandig piano. De Can Can uit Orphée aux enfers (Orpheus in de onderwereld) is het beroemdste afzonderlijk uitgevoerde stuk van de operettecomponist Offenbach. Na deze opzwepende dansmuziek volgt het prachtige, gedragen thema uit het tweede deel van de symfonie Uit de nieuwe wereld met de titel Largo, van de hand van de Tsjechische componist Dvorák. Kortom: zes zeer afwisselende arrangementen, uitdagend en uitermate geschikt voor uitvoeringen!

More Classical Highlights ist die Fortsetzung von Classical Highlights, einer Sammlung von Arrangements klassischer Themen aus der Zeit vom 17. bis zum 19. Jahrhundert. Die Stimmen sind recht einfach gehalten und reizvoll ausgearbeitet; zugleich sind die Arrangements nah an den Originalstu cken. Der Barock ist mit zwei musikalischen Höhepunkten vertreten: Der bekannte Canon von Pachelbel ist vielleicht die meist gespielte Komposition aus dem 17. Jahrhundert. Die Kraft dieses Stu ckes liegt in einer Basslinie aus nur acht Noten, u ber der sich das eigentliche Gefu ge des Kanons entwickelt. Réjouissance aus der Feuerwerksmusik ist einesehr fröhliche Komposition des deutsch-englischen Barockkomponisten Händel. Ein Kleinod der Klassik aus dem 18. Jahrhundert ist das raffinierte Menuett von Boccherini, einem italienischen Komponisten, der einen gro�en Schatz an Kammermusik schrieb. Das 19. Jahrhundert ist mit drei beru hmten Werken vertreten: Der lebhafte Marche militaire No. 1 des �sterreichers Schubert stammt aus 3 Marches militaires fu r Klavier zu vier Händen. Der Can-Can aus Orphée aux enfers (Orpheus in der Unterwelt) ist das beru hmteste separat aufgefu hrte Stu ck des Operettenkomponisten Offenbach. Nach dieser mitrei�enden Tanzmusik folgt ein schönes, erhabenes Thema aus dem zweiten Satz der Sinfonie Aus der Neuen Welt mit dem Titel Largo aus der Feder des tschechischen Komponisten Dvorák.

More Classical Highlights, qui fait suite au recueil Classical Highlights, rassemble une collection dâ??arrangements de thèmes classiques couvrant une période de trois siècles, du XVIIe au XIXe siècle. Les diverses parties instrumentales sont faciles et agréables jouer, mais les arrangements restent néanmoins fidèles aux compositions originales. La musique baroque est représentée par deux oeuvres toujours appréciées. Parmi toutes les compositions du XVIIe siècle, le célèbre Canon de Pachelbel est peut-être celle que lâ??on entend le plus souvent. Sa puissance réside dans une simple ligne de basse de huit notes par-dessus laquelle se développe le motif ducanon lui-même. Réjouissance, tirée de Music for the Royal Fireworks, est une pièce très enjouée du compositeur baroque anglo-allemand Haendel. Le style classique du XVIIIe siècle est inclus sous la forme dâ??un élégant menuet de Boccherini, un compositeur italien qui a écrit une quantité de musique de chambre. Le XIXe siècle est évoqué par trois oeuvres célèbres. La dynamique Marche militaire n° 1, du compositeur autrichien Schubert, extrait des Trois marches militaires pour piano quatre mains. Le Cancan dâ??Orphée aux enfers est la plus connue des oeuvres dâ??Offenbach, célèbre pour ses opérettes. Cette danse endiablée est suivie du Largo, admirable thème du deuxième mouvement de la Symphonie du Nouveau Monde, du compositeur tchèque Dvorák. En résumé : six arrangements variés, stimulants et parfaits pour être interprétés en concert !

SKU: PR.14440265S

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.