SKU: BR.OB-5384-26
ISBN 9790004335536. 10 x 12.5 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.
SKU: BR.OB-5384-16
ISBN 9790004335512. 10 x 12.5 inches.
SKU: OU.9780193530249
ISBN 9780193530249. 10 x 7 inches.
For SSAA and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward.
SKU: CF.CPS242
ISBN 9781491157930. UPC: 680160916535. 9 x 12 inches.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons†ago.
SKU: CA.2731705
ISBN 9790007182083. Language: Latin.
During his most productive period as an opera composer, Camille Saint-Saens also wrote sacred works, among which his Oratorio de Noel has enjoyed great worldwide popularity. The colorful and opulently orchestrated Messe de Requiem was composed in 1878 in Bern. The composer dedicated it to his patron, Albert Libon. We have published this edition both with its larger orchestral forces and to enable perfomances of the Requiem in slightly reduced scoring (without losing the special characteristics of the work), in a version with a smaller orchestra consisting of 11 winds, two harps, organ and string instruments. The full score reproduces the Urtext of the Requiem with its original scoring, whereas the performance material is presented and conceived so to enable it to be performed either in the original orchestration or the version with reduced forces. Score available separately - see item CA.2731700.
SKU: CA.2731709
ISBN 9790007201777. Language: Latin.
During his most productive period as an opera composer, Camille Saint-Saens also wrote sacred works, among which his Oratorio de Noel has enjoyed great worldwide popularity. The colorful and opulently orchestrated Messe de Requiem was composed in 1878 in Bern. The composer dedicated it to his patron, Albert Libon. We have published this edition both with its larger orchestral forces and to enable perfomances of the Requiem in slightly reduced scoring (without losing the special characteristics of the work), in a version with a smaller orchestra consisting of 11 winds, two harps, organ and string instruments. The full score reproduces the Urtext of the Requiem with its original scoring, whereas the performance material is presented and conceived so to enable it to be performed either in the original orchestration or the version with reduced forces. Score and parts available separately - see item CA.2731700.
SKU: CA.2731703
ISBN 9790007182052. Language: Latin.
SKU: CA.2731700
ISBN 9790007167875. Language: Latin.
During his most productive period as an opera composer, Camille Saint-Saens also wrote sacred works, among which his Oratorio de Noel has enjoyed great worldwide popularity. The colorful and opulently orchestrated Messe de Requiem was composed in 1878 in Bern. The composer dedicated it to his patron, Albert Libon. We have published this edition both with its larger orchestral forces and to enable perfomances of the Requiem in slightly reduced scoring (without losing the special characteristics of the work), in a version with a smaller orchestra consisting of 11 winds, two harps, organ and string instruments. The full score reproduces the Urtext of the Requiem with its original scoring, whereas the performance material is presented and conceived so to enable it to be performed either in the original orchestration or the version with reduced forces.
SKU: CA.2731711
ISBN 9790007201784. Language: Latin.
During his most productive period as an opera composer, Camille Saint-Saens also wrote sacred works, among which his Oratorio de Noel has enjoyed great worldwide popularity. The colorful and opulently orchestrated Messe de Requiem was composed in 1878 in Bern. The composer dedicated it to his patron, Albert Libon. We have published this edition both with its larger orchestral forces and to enable perfomances of the Requiem in slightly reduced scoring (without losing the special characteristics of the work), in a version with a smaller orchestra consisting of 11 winds, two harps, organ and string instruments. The full score reproduces the Urtext of the Requiem with its original scoring, whereas the performance material is presented and conceived so to enable it to be performed either in the original orchestration or the version with reduced forces. Score and part available separately - see item CA.2731700.
SKU: CA.2731713
ISBN 9790007201807. Language: Latin.
SKU: CA.2731714
ISBN 9790007201814. Language: Latin.
SKU: CA.2731719
ISBN 9790007183325. Language: Latin.
SKU: CA.2731749
ISBN 9790007201845. Language: Latin.
SKU: CA.2731712
ISBN 9790007201791. Language: Latin.
SKU: CA.2731715
ISBN 9790007201821. Language: Latin.
SKU: HL.14036341
ISBN 9780711955080.
Commissioned by the BBC and premiered by the Chilingirian String Quartet. Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction. But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of 'cauldron', from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter's First Quartet) of which the opening is to reappear halfway through the Finale. The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale. The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end. The work is dedicated to the Chilingirian Quartet, old friends over many years. Score available separately: SOS04044.
SKU: MB.30844M
ISBN 9781513464268. 8.75 x 11.75 inches.
Skip James was one of the most influential early Bluesmen, but his importance as a stylist remained undiscovered until he was brought out of a long retirement by the Folk/Blues revival of the early 1960â??s. Born in 1902 and raised in Bentonia, Nehemiah Curtis James was brought up in a religious family: his father was a bootlegger who reformed and became a Baptist preacher. Skip learned piano in school but picked up guitar from his friend Henry Stuckey. In 1931 Skip was picked up by a scout for Paramount Records and he cut 26 tracks, of which 18 were released, in a two day session at their Grafton, Wisconsin studios. These recordings presented a unique and haunting genius that influenced legendary bluesmen as Robert Johnson, Kansas Joe McCoy and Johnny Temple. But the recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity.
We have included as online downloads Skipâ??s 1931 recordings. The crackling sound of these rare recordings cannot obscure the brilliance of this seminal Blues master.
After over 30 yearâ??s retirement from music, Skip was rediscovered by Blues enthusiasts Bill Barth, John Fahey and Henry Vestine. They persuaded Skip to appear at the Newport Folk Festival in 1964, where his renditions of his old songs were still powerful and moving. His performances as well as his old and new recordings influenced a generation of new musicians: Eric Clapton, Alan Wilson of Canned Heat, Cream, Deep Purple, Chris Thomas King, Alvin Youngblood Hart, Derek Trucks, Beck, Big Sugar, John Martyn, Lucinda Williams and Rory Block to name a few.
Books on legendary Blues musicians written by white musicologists tend to offer a subjective perspective on how the artists felt, thought or reacted. A tainted picture is captured that has more to do with the writerâ??s social and musical experiences. This autobiography is different. The words, thoughts and feelings come directly from the artistâ??s lips. This is the story of Nehemiah â??Skipâ? James told by Nehemiah â??Skipâ? James.
SKU: BA.BA11902
ISBN 9790006573417. 32.5 x 25.5 cm inches.
Beethoven composed the ballet music “Die Geschöpfe des Prometheus†during 1800–01, commissioned by the ballet master Salvatore Viganò for performances with his Viennese company. Although the ballet was initially quite successful, with almost thirty continuous performances, it did not enjoy a sustained performance tradition. Its overture, however, was a different matter: considered almost a symphonic movement in terms of orchestration, style and structure, it was often performed on its own even during Beethoven’s lifetime.In general, previous editions of this overture relied on the first print as the main source. However, the authenticity of this source cannot be convincingly proven. For this new edition, Beethoven specialist Jonathan Del Mar incorporates various manuscript sources, including a set of parts from 1803/4 that has never been considered before. In this way, numerous discrepancies could be clarified.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CF.YPS38
ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style†section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.
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