SKU: FJ.B1845S
English.
Many know Mars, the Bringer of War. Now meet his diabolical son Deimos, the Bringer of Terror. Fashioned in the style of Holst, this work uses driving rhythms, dark harmonies, and an asymmetrical form to personify Deimos, the Greek mythological god of terror and the namesake of Mars' second moon. Enjoy this first offering from Loest's suite The Moons.
About FJH Starter Series
Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5
SKU: EB.1-930292-06-6
ISBN 9781930292062.
Premier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.The first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.
SKU: EB.1-930292-34-1
ISBN 9781930292345.
SKU: BR.OB-5231-16
ISBN 9790004337066. 10 x 12.5 inches.
Whether for first editions or not the primary sources of Beethoven's works always have to be interpreted with great expertise. The editor's knowledgeability is the decisive point when it comes to the level of quality of a new edition. And both Clive Brown and Peter Hauschild are setting standards.On the whole, it was a good idea for Breitkopf to give itself time with these editions. The difficult feat of doing justice to the needs of performers and to philological scholarship has been carried off at a level that raises the standards to an almost frighteningly high level. (Peter Gulke) In the case of the First Symphony, Clive Brown reaches an optimal balance between source criticism and performance-practical requirements. Interpreters and scholars appreciate the source criticism for performance practice that Breitkopf cultivates not only in its Beethoven editions.In the case of the First Symphony, Clive Brown again reaches an optimal balance between source criticism and performance-practical requirements.
SKU: HL.49041045
ISBN 9783795794453. 10.25x13.25x1.07 inches.
Petr Iljitsch Tschaikowsky, whom Igor Stravinsky charakterized as being 'deeply national', represents the culmination of 'Russion Classical music' of the late-eighteenth and nineteenth centuries. Probably the most versatile of Russian composers, he made great and lasting contributions to all genres - operas, ballets, incidental music, symphonies and other orchestral works, chamber music, piano music, sacred and secural choral music, romances, Lieder and folk-song arrangements - establishing a special place for Russion music within the European tradition. Publications of the first complete edition of Tschaikowsky's works was started in the centenary year of his birth, 1940. Publication of a second edition will begin in 1993, the centenary of his death. There are important reason, both editorial and in terms of content, for a second edition to follow so soon. In the old edition, ideological considerations meant that some of the texts which Tschaikowsky set to music were arbitrarily altered. Similarly, quotations of the old Russian national anthem were replaced by other music. A number of works, or independent versions, werde completely overlooked. For example, the full score of the opera 'Vakula the Smith' (the first version of Cerevicki) and the unfinished Symphony in E flat major werde not standardized; in some cases no textual analysis was offered, and critical apparatures were simply dispensed with.The new complete edition will remedy these shortcomings. In addition to the composer's final versions, it will include alternative and earlier versions of works, as well as fragments and incomplete works, all reproduced faithfully from the sources. Documentation and discussion will be provided in Critical Commentaries. Piano reductions exist of the stage works, concertos and concertante pieces as well as of some of the cantatas and orchestral works, either written by Tschaikowsky himself, or revised or authorized by him. These are all to be included in the edition which, with its historico-critical approach, will address the need both of scholars and of practical musicians.The edition of musical works (Serie I-IX) is supplemented by a facsimile edition of all of Tschaikowsky's surviving sketches (Serie X), the texts of his diaries, writings and letters, including the three-volume Tschaikowsky-Mekk correspondence (Serie XI), a two-volume catalogue of works and a single-volume Tschaikowsky Encyclopaedia (Series XII).
SKU: BR.OB-5581-19
ISBN 9790004343227. 10 x 12.5 inches.
A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.
SKU: CR.977836
ISBN 9780758662224. 9 x 12 inches.
Following the successful Hymn Prelude Library series for organ comes a comprehensive set of piano preludes for all the hymn tunes in Lutheran Service Book. Not an adaptation of the organ series, this collection features newly composed pieces by dozens of composers who write in a variety of styles and harmonizations. The pieces are useful as preludes, postludes, music at the offering, for introductions, and during distribution, as well as for those who play hymns at home. The durable wire binding ensures that each page lies flat against the music stand.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 5 contains preludes for tunes starting with the letters H and I.
Subscribe and Save!With a subscription, you'll pay $40.00 for each volume in the series—a 20% savings. You'll also automatically receive each new volume as soon as it is released. Subscribe now >
About the EditorKevin Hildebrand is Kantor at Concordia Theological Seminary in Fort Wayne, Indiana. He has more than 75 music titles in print with CPH and was the editor of Hymn Prelude Library.
SKU: CL.LDP-7017-00
A striking musical picture of the Goddess of Love; her birth from the foam of the sea, her other-worldly beauty, and her bewitching power over mortal men. From: Olympus: Four Mythological Legends. Splendid!
SKU: FZ.50530
ISBN 9782360950003. 21.00 x 21.00 cm inches.
Old instruments collection is a new series of monographs featuring single instruments or instrument markers. Each booklet contains chronological charts, historical and technical details, together with photographs, as well as considering the instrument from an aesthetic point of view. These individual studies should be helpful to musician, musicologists, historians, instrument markers and enthusiasts. Serie: LES ORGUES. by Jean-Christophe TOSI. The History. Description. Archives. Only in French. Delve into the memory of music with the Old instruments monographies collection from Anne Fuzeau Classique.
SKU: HL.417939
UPC: 196288059295. 6.75x10.5x0.036 inches. II Corinthians 9:15, Revelation 12:5.
Floating effortlessly, this anthem for soloist and choir is the perfect Christmas Eve offering. Surprising harmonies delight while the theologically rich lyric reminds us of the true meaning of Christmas. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-3, hp, vn 1-2, va, vc, db) available as a digital download.
SKU: HL.49041362
The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of Unpublished pieces for an eventual complete edition. The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor. Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary. The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.
SKU: HL.49045422
ISBN 9784890664894.
Suite Carapace consists of 15 pieces composed between 2005 and 2015 collected chronologically in three volumes. The first of these volumes includes three works composed and premiered at Tokyo College of Music in 2005, Horseshoe Crab, Odontodactylus japonicus, and Fiddler Crab, and two works composed in 2007 and premiered at Yokosuka City Culture Hall, Pistol Shrimp and Japanese Spider Crab. Each of these works in this volume was inspired by the name or appearance of a particular carapace, as suggested by the titles. Through the music, we are able to examine each creature in detail with a variety of characteristic rhythms and harmonies arising from the composer's deep interest and imagination.
SKU: BT.OKP118-205
Following the huge success of their instrumental method Look, Listen and Learn, Michiel Oldenkamp and Jaap Kastelein have focussed their attention on school bands and devised a completely new method that can be used in both instrumental lessons and class bands or wind ensembles.
Learning Music Together is the new method for young wind players and percussionists, aged eight and above.
Learning Music Together has been developed in close collaboration with professionals from the class band world, music schools, and academies in the Netherlands and Germany.
Learning Music Together combines instrumental lessons with a course for class band. The saxophone lessons offer saxophone -specific items such as new notes and technical exercises while at the same time supporting the learning of the class band, with a focus on rhythm, melodic structure and playing music together. The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
SKU: FV.FUE-10073
The 45-minutes work has been composed between 2010 et 2011. These ,,Preludes pour piano are a tribute to the Preludes of Alexander Scriabine. There is no tonal reference in the writing of my Preludes that were written in a chronological way. It is possible to play some of them, however a complete interpretation is preferable. They are mysterious, playing with piano resonance, rhythmic and passionate. They are linked by a great unity of language.
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: BR.EB-8698
ISBN 9790004184813. 9 x 12 inches.
The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work. Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.
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