SKU: M7.EDA-49

UPC: 840387100494.

Kolja Lessing dedicates this recording to Krzysztof Meyer on the occasion of the composer's eightieth birthday in 2023. Meyer, one of the most important Polish composers of his generation, taught for many years as professor of composition at the Cologne College of Music and numbers among the important bridge-builders between Polish and German cultural life. As a pupil of Krzysztof Penderecki and Nadia Boulanger, he remarkably manages to integrate important communicative elements into an avant-garde musical language of great suggestive power and narrative charm. In the works written over a period of more than 40 years, Meyer proves himself to be an expert with profound knowledge of the technical possibilities of the violin. Kolja Lessing and Rainer Maria Klaas's interpretations, developed with the composer, captivate by means of their authenticity, by dint of their deep understanding of a music that is both expressive and euphonious, and through which a distinguished, deeply humanistic personality speaks.

SKU: BR.OB-5353-16

ISBN 9790004340714. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.OB-5353-27

ISBN 9790004340745. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

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.”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 (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 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: HL.44001140

ISBN 9789043113076. UPC: 073999343656. International (more than one language).

Packed full of familiar children's songs from different countries this book is great teaching material for children and can be used as first performance material. The CD makes practising fun and satisfying.

Bekende, vrolijke kinderliedjes uit verschillende landen! Sommige ken je vast al, maar er zullen er ook een paar bij zijn die je nog niet kent. Grote en kleine toehoorders zullen graag luisteren als je ze voorspeelt uit dit boek.En met de meespeel-cd is het net of je een eigen begeleidingsband hebt!

Ein Spielbuch mit 37 Kinderliedern aus verschiedenen Landern, die jungen Geigern teils bekannt, teils neu sein werden, aber in jedem Fall leicht und eingangig sind. Der Schwierigkeitsgrad schreitet von Stuck zu Stuck allmahlich etwas voran. Grosse und kleine Zuhorer werden sich bestimmt gerne aus Play Back Festival vorspielen lassen! Und die bei-gefugte CD sorgt fur die passende Begleitung.

Questa raccolta conta ben 37 canzoni per bambini, provenienti da tutto il mondo e appositamente arrangiate per farvi apprendere la musica divertendovi a suonare con l'accompagnamento sul CD.