SKU: HL.14042802

These short pieces are inspired by the extraordinary piano music of the little known Yorkshire composer William Baines. Baines died in 1922 at the age of 23 but left behind a substantial catalogue of over 150 works. Likened to that of Scriabin, Baines’ piano music is sensuous, highly coloured and quite unlike anything being written by his British contemporaries.  Shadows (Volume I)  are reflections on episodes from Baines’ life and diary entries, each piece incorporating a chord, a gesture or a figuration from one of Baines’ solo piano works. It was particularly fitting that the set received its premiere in Yorkshire inthe fabulous surroundings of Ripon Cathedral. 

These short pieces are inspired by the extraordinary piano music of the little known Yorkshire composer William Baines. Baines died in 1922 at the age of 23 but left behind a substantial catalogue of over 150 works. Likened to that of Scriabin, Baines’ piano music is sensuous, highly coloured and quite unlike anything being written by his British contemporaries. Shadows (Volume I) are reflections on episodes from Baines’ life and diary entries, each piece incorporating a chord, a gesture or a figuration from one of Baines’ solo piano works. It was particularly fitting that the set received its premiere inYorkshire in the fabulous surroundings of Ripon Cathedral. 

SKU: HL.1152691

ISBN 9781705186800. UPC: 196288119562. 9.0x12.0x0.417 inches.

Immerse yourself in the extraordinary musical world of Joni Mitchell with this new collection of 32 of Joni's most cherished masterpieces, carefully arranged for piano, voice, and guitar chords. Crafted with care, The Joni Mitchell Sheet Music Collection is more than just a collection of sheet music; it's an homage to Joni's extraordinary talent and enduring influence on the music world. Offering unique arrangements that stay true to the original compositions, this songbook is the perfect addition to the collection of any musician or music enthusiast eager to explore the rich tapestry of Joni Mitchell's work. Songs include: Amelia • Big Yellow Taxi • Both Sides Now • California • A Case of You • The Circle Game • Coyote • Help Me • The Blessing of Summer Lawns • Ladies of the Canyon • My Old Man • River • Trouble Child • Woodstock • and more!

SKU: M7.KC-2008

ISBN 9782848580135. English French Spanish.

The legendary figures of Antonio Lauro and Alirio Diaz are monuments of the Venezuelan spirit. It is important to remember the extraordinary course of fortune which brought together Antonio Lauro and Alirio Diaz - a great Composer and a great virtuoso who inspired each other with their creativity. This interaction was vital in the success of this wonderful Music, born of their common cultural heritage and presented to the world through the extraordinary talents of Alirio Diaz, the greatest performer of Lauro's guitar works. It is difficult not to draw parallels between this relationship and that Andrés Segovia with Manuel Ponce or Julian Bream with Benjamin Britten and William Walton.

SKU: PR.114422450

ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.

Bach’s colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of music’s greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzanti’s heroic adaptation of the complete Partita is the culmination of many years’ work, and the only transcription specifically for the piccolo’s unique range.
THE INSPIRATIONEver since my childhood, Johann Sebastian Bach’s solo violin music (like his works for solo cello) has always held a charm and mystery for me. There’s something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partita’s movement titles in Italian) is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.”Transcribing and performing Bach’s PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a “small” instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bach’s presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bach’s string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bach’s original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates “arpeggio” were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.

SKU: CF.CM9698

ISBN 9781491159996. UPC: 680160918591. Key: Ab major. Latin. Traditional Latin.

O Magnum Mysterium is a setting of a Latin sacred text written for Christmas. The text depicts the extraordinary occurring among the ordinary: God coming to earth as a tiny baby, and animals in a lowly stable being the first to witness his arrival. Adding dynamic contrast (crescendo/decrescendo) on every phrase and singing legato (smoothly) with a gentle choral tone will reflect the wonder and awe the original text and this setting attempt to communicate. Original Latin Text: English Translation: O magnum mysterium, O great mystery, Et admirabile sacramentum, And wonderful sacrament, Ut animalia viderunt That animals should see Dominum natum the newborn Lord jacentem in praesepio. Lying in a manger. O magnum mysterium. Amen. O great mystery. Amen. General Latin Pronunciation Guidelines: 1. There are only five pure vowel sounds in Latin: A = AH E=EH I = EE O = AW U = OO 2. Strive to flip all R's as if singing in Italian. Latin Pronunciation (accented syllables are UPPER CASE): aw MAH-nyoom mee-STEHR-yoom,* eht ahd-mee-RAH-bee-leh sah-krah-MEHN-toom, oot ah-nee-MAH-lee-ah vee-DEHR-oont DAW-mee-noom NAH-toom, yah-CHEHN-tehm een preh-SEH-pee-aw. aw MAH-nyoom mee-STEHR-yoom. AH-mehn. *The word mysterium in this piece is a three-syllable rather than a four-syllable word. This can be accomplished by pronouncing the last syllable ium as yoom rather than ee-oom.
O Magnum Mysterium is a setting of a Latin sacred text written for Christmas. The text depicts the extraordinary occurring among the ordinary: God coming to earth as a tiny baby, and animals in a lowly stable being the first to witness his arrival. Adding dynamic contrast (crescendo/decrescendo) on every phrase and singing legato (smoothly) with a gentle choral tone will reflect the wonder and awe the original text and this setting attempt to communicate.Original Latin Text: English Translation:O magnum mysterium, O great mystery,Et admirabile sacramentum, And wonderful sacrament,Ut animalia viderunt That animals should seeDominum natum the newborn Lordjacentem in praesepio. Lying in a manger.O magnum mysterium. Amen. O great mystery. Amen.General Latin Pronunciation Guidelines:1. There are only five pure vowel sounds in Latin:A = AH E=EH I = EE O = AW U = OO2. Strive to flip all R’s as if singing in Italian.Latin Pronunciation (accented syllables are UPPER CASE):aw MAH-nyoom mee-STEHR-yoom,*eht ahd-mee-RAH-bee-leh sah-krah-MEHN-toom,oot ah-nee-MAH-lee-ah vee-DEHR-oontDAW-mee-noom NAH-toom,yah-CHEHN-tehm een preh-SEH-pee-aw.aw MAH-nyoom mee-STEHR-yoom. AH-mehn.*The word “mysterium” in this piece is a three-syllable rather than a four-syllable word. This can be accomplished by pronouncing the last syllable “ium” as “yoom” rather than “ee-oom”.