Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

60 Progressive Duets for Clarinets. Par SPARKE PHILIP. L’acquisition de nouvelles compétences, au sein d’une démarche structurelle, est indispensable dans l’apprentissage d’un instrument à vent. Un bon professeur est un élément-clé mais il est essentiel de posséder, en complément de la méthode utilisée, des outils pédagogiques motivants offrant une présentation structurelle des techniques de jeu et d’apprentissage. Chaque recueil d‘études, de solos et de duos fournissent un evironnement adéquat à l’introduction de nouveaux éléments musicaux en suivant une démarche logique qui facilite le développement rapide d’un “musicien complet”. Jouer en duo (professeur/élève et deux élèves) est un travail d’équipe dans sa forme laplus simple. Quelle que soit la forme choisie (étude, solo ou duo), chaque recueil est enrichissant et procure beaucoup de satisfaction. / Niveau : Très Facile à Facile / Pédagogie / Recueil / Clarinette

Symphonic Band-A fantasy on the 3-voice organum “Alleluia: Nativitas” composed by the 12th century master Perotin. The work uses great blocks of Perotin's polyphony juxtaposed and superimposed at multiple tempos and embroideredwith some new materials echoing the Gothic style. The work was originally written for the North Hills High School Band.

Par PEARCE J. / GUNNING C.. Cette collection introduit des acteurs au niveau débutant à une exceptionnellement vaste gamme de musique. Tous les 27 pièces ont été choisis pour encourager l'attention sur les aspects techniques fondamentales de jouant de la flûte tels que la qualité de ton, de rythme et de dynamique. Les pièces sont disposées dans l'ordre approximatif de difficulté, permettant aux joueurs de consolider les compétences techniques et une expression musicale naturelle comme elles progressent à travers le livre./ Recueil / Flûte Traversière et Piano

Au Moyen Age l?aurore boréale alimentait les croyances. Le spectacle haut en couleurs accompagné de bruissements inspirait une vive inquiétude à nombre d?âmes innocentes. Le phénomène était attribué par de nombreux pa?ens aux voies impénétrables des dieux. Nous en savons aujourd?hui un peu plus sur le phénomène. Une fois tous les 11 ans le flux de particules provenant du soleil est au plus haut. C?est le cas cette année. Ces particules sont projetées avec violence échappant ainsi au champ magnétique du soleil. Un faible pourcentage de ces particules pénètre dans le champ magnétique de la terre. Une fois arrivées là les particules s?entrechoquent donnant naissance à l?auroreboréale.

Au Moyen Age l?aurore boréale alimentait les croyances. Le spectacle haut en couleurs accompagné de bruissements inspirait une vive inquiétude à nombre d?âmes innocentes. Le phénomène était attribué par de nombreux pa?ens aux voies impénétrables des dieux. Nous en savons aujourd?hui un peu plus sur le phénomène. Une fois tous les 11 ans le flux de particules provenant du soleil est au plus haut. C?est le cas cette année. Ces particules sont projetées avec violence échappant ainsi au champ magnétique du soleil. Un faible pourcentage de ces particules pénètre dans le champ magnétique de la terre. Une fois arrivées là les particules s?entrechoquent donnant naissance à l?auroreboréale.

With both sacred and secular texts available to choose from this treble work speaks of the joys of being alive with emphasis on the beauty of nature. The author an unknown child in a Czechoslovakian death camp is the supreme example of the human spirit overcoming even the bleakest of circumstances. The depth of the text has great appeal for teenagers but its childlike simplicity makes it equally accessible to elementary students as well.

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Par L'ESTRANGE ALEXANDER (Arr.). The poignant words of The Last Rose Of Summer, by Thomas Moore, match this Irish song’s mournful, drooping melody. After a temporarily uplifting modulation for the third verse, where the men of the choir echo the melody two measures behind, the arrangement ends as it began – in a solitary mood, with an empty, bare fifth. This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano

The composer was drawn to the beautiful stillness and sadness of the poem by Christina Rossetti which transcends its rigid sonnet structure and allude via the epigraph to the mysterious Willow-Wood cycle by Christina's brother Dante Gabriel Rossetti. The music suggests a division of the poem into three stanzas alternating with tranquil interludes (using the opening melody) representing the 'willow-wood' of the title so that the listener is constantly reminded of the gentle surroundings. As the intensity of the text increases so does the astringency of dissonance in the verses reaching its apogee just before consonance breaks through at the crucial phrase 'onemoment joined'. The simplicity of the Vocal writing conveys the serenity of the setting while simultaneously suggesting the austere melancholy of the lovers. An Echo From Willow-Wood was the winner of the Stainer & Bell Award for Choral Composition 2015.

Electronic Keyboard Basics 2 follows on directly from Book 1 and introduces bass-clef reading key signatures and scales. Echo playing and simple improvisation encourage pupils to play by ear and develop good aural skills. Packed with the widest variety of musical styles from classical to contemporary and full of fantastic illustrations Sarah Walker's Electronic Keyboard Basics is the brightest and most straight-forward way to learn!

A massive collection containing the best music from the 1980s presented in chord songbook format. From stadium rock to synth metal, indie pop to power ballads, now you can sing and play all your favourite hits from the eighties! With 80 songs in total, all arranged in the original keys from the actual hit recordings. This edition comes complete with full lyrics, guitar chord boxes and playing guide. / Chant Et Guitare