SKU: BO.B.3713
Without doubt, the most important chamber music work by Malats, and one of his finest compositions, is his Trio for Violin, Cello and Piano in B Flat Major. It was composed in 1898.Malats dedicated the Trio to one of the greatest composers of all time, Camille Saint-Saëns, close personal friend of both Malats and Granados. An unknown gem of the chamber music repertoire, this Modernist work is superior in form, technique and musical content to similar work by Granados, Breton, Chapi and others.Malats had considerable knowledge and experience with the trio form. In 1894 at the Sala erard in Paris he performed four trios by Beethoven, Mendelssohn, Godard and Saint-Saëns with C. Flesch and Hasselmann. Given his experiences with chamber music it is not surprising that Malats exhibited such confidence and security in writing his Trio maintaining perfect balance and dialogue between the three instruments which he achieved through masterful control of the formal structure. This work has a rich harmonic language and none of the Nationalist qualities of his previous pieces. Instead, it reveals Malats proximity to then current European music yet, at the same time, exhibits his personal style and musical knowledge.
SKU: FG.55011-774-7
ISBN 9790550117747.
Tommi Hyytinen (DMus, Finnish horn player and pedagogue) writes about this collections:I composed these 30 Etudes for Low Horn to be at the same time instructive and at the same time fun and interesting to play. The etudes consist similar technical challenges than a low horn player confronts in orchestra. The etudes also encompass many of the technical challenges that a horn player encounters in chamber music and in solo repertoire, especially since many of the touring soloists in the 18th and 19th centuries were Cor-Basse players. Some of these etudes are not the most serious in nature in the horn literature, but nevertheless they challenge and develop the playing technique in wide variety of ways. The ambitus of the etudes is very virtuosic, encompassing almost four octaves. Some of the etudes are more melodic and concentrate in lyrical phrasing, legato-playing, sound and intonation, others contain technically tricky passages, articulations and fingerings. Rhythmic accuracy and ‘finding the groove' is of utmost importance in all of the etudes. The etudes develop the sound and control of the low register of the horn and flexibility between the registers. These 30 Concert Etudes work as individual pieces or as a set of pieces. You can for example choose a set of etudes and perform them in a concert or matinée. I hope you have as much fun practising and playing these etudes as I had composing them..
SKU: HL.48186891
UPC: 888680883195. 0.018 inches.
This edition of Salve Regina by Gabriel Faure is a version of this Marian hymn for a SABT accompanied by the Piano or the Organ, arranged by Henri Busser. This features lyrics in Latin, and can be sung by two or four voices also accompanied by Violin or Cello ad libitum. This lyrical piece is quite slow (tempo 66) and the Organ score does not feature any pedals: the difficulty could meet the skills of upper intermediate level players. Five verses can be distinguished in the whole piece and its polytonal aspects make it sound really rich and harmonious. Gabriel Faure (1845-1924) was a French composer, organist, pianist and teacher. He was one of the greatest composers among his peers and strongly influenced all the following generations of composers. One of his best-known compositions is the famous 'Requiem'..
SKU: AP.33713S
UPC: 038081375120. English.
You and your students will love putting together these charming variations based on Lewis Carroll's classic book. A simple and graceful theme, entitled Alice, is followed by four colorful variations depicting the delightfully odd characters that inhabit Wonderland. Each variation is a stylistic workshop for your students who will learn a myriad of techniques as they bring to life the Cheshire-Cat, a Mad Tea Party, a Caterpillar, and the King and Queen of Hearts. This title is available in MakeMusic Cloud.
SKU: BR.EB-32120
ISBN 9790004187272. 7.5 x 10.5 inches.
This cantata is a composition by Kuhnau for the first of the Christmas holidays [Christmas Day] and one of his most extensive works. It is underlaid with the free poetry of a hitherto anonymous author, not including any Bible or chorale texts. Though the dating has not yet been clarified, the structure - two recitative-aria pairings, framed by two magnificent tutti movements - indicates a genesis period within the last years of the composer's tenure as St. Thomas cantor in Leipzig. Additional indications are the triple use of the da capo form as well as the four-part vocal setting, partly differentiated in solo and tutti, taking the individual parts to the limits of their ambitus as was later customary with Johann Sebastian Bach.Particularly noteworthy are two details of the instrumentation: Firstly, there are three violin parts in the score, the first of which has to master an exceptionally virtuoso solo part. Secondly, in the third movement, Kuhnau expressly notates an obbligato organ solo part, not to be found in any of his other extant compositions. This virtuosic part also already foreshadows the later and far more famous obbligato organ parts in various Bach cantatas.
SKU: BR.PB-32120
ISBN 9790004215869. 10 x 12.5 inches.
SKU: BR.OB-32120-16
ISBN 9790004350485. 10 x 12.5 inches.
SKU: BR.OB-32120-15
ISBN 9790004350478. 10 x 12.5 inches.
SKU: BR.OB-32120-11
ISBN 9790004350461. 10 x 12.5 inches.
SKU: BR.OB-32120-30
ISBN 9790004350522. 10 x 12.5 inches.
SKU: BR.OB-32120-19
ISBN 9790004350508. 10 x 12.5 inches.
SKU: BR.OB-32120-17
ISBN 9790004350492. 10 x 12.5 inches.
SKU: BR.OB-32120-26
ISBN 9790004350515. 10 x 12.5 inches.
SKU: HL.286427
''Witold Lutoslawski treated the surrealistic poem of Jean Francois Chabrun as a symbolist story about love and death. In his musical interpretation, according to its default course he distinguished the subsequent stages of the opus which are characterised by different kinds of expression. The first stage is of an epic and lyrical character, the second refers to a lullaby, the third is of a dramatic nature and constitutes the culmination of the work, finally, the fourth stage is a kind of a lament ending with a reflective message. Lutoslawski's musical language is characterised by contemporary means of composing technique. One should take note of the unique twelve-note system elaborated by the composer, a characteristic time organisation based on contrasting the conducted sections against the ad libitum ones, and finally the vast repertoire of sound articulation allowing for unusual differentiation of the timbre. [Regina Chlopicka: Paroles tissees Witolda Lutoslawskiego, in: Muzyka polska 1945-1995'', Akademia Muzyczna w Krakowie, 1996].
SKU: CA.1002919
ISBN 9790007189396. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. The six-part polyphonic choral setting of the German Gloria (the first and fourth verses are underlaid) is divided, following Italian models, by tutti sections in triple meter. Instruments join the tutti sections ad libitum, strengthening the vocal parts. Score and parts available separately - see item CA.1002900.
SKU: CA.1002949
ISBN 9790007181437. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. The six-part polyphonic choral setting of the German Gloria (the first and fourth verses are underlaid) is divided, following Italian models, by tutti sections in triple meter. Instruments join the tutti sections ad libitum, strengthening the vocal parts. Score and part available separately - see item CA.1002900.
SKU: CA.1002905
ISBN 9790007181369. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. The six-part polyphonic choral setting of the German Gloria (the first and fourth verses are underlaid) is divided, following Italian models, by tutti sections in triple meter. Instruments join the tutti sections ad libitum, strengthening the vocal parts. Score available separately - see item CA.1002900.
SKU: CA.1002900
ISBN 9790007171742. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. The six-part polyphonic choral setting of the German Gloria (the first and fourth verses are underlaid) is divided, following Italian models, by tutti sections in triple meter. Instruments join the tutti sections ad libitum, strengthening the vocal parts.
SKU: AP.36-A258196
ISBN 9798892701891. UPC: 659359762505. English.
Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A258195
ISBN 9798892701884. UPC: 659359625268. English.
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