SKU: CF.BF141
ISBN 9781491159989. UPC: 680160918584.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayerâ€, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.†This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer†and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication†(the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Songâ€, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
SKU: HL.49016913
ISBN 9790001147620. UPC: 884088262228. 9.0x12.0x0.127 inches.
Mustonen belongs to the young generation of composing piano virtuosos. What is remarkable is that 'his instrument' is not placed in the foreground of his works. He rather composed pieces for strings, sonatas with piano accompaniment, orchestral works and even a piece for guitar referring to the history of his home country Finland.The cello sonata was premiered by Mustonen with the cellist Daniel Muller-Schott in Hamburg. No special emphasis is given to polyphonic coexistence; instead, the piano, playing chordally, acts as a real accompaniment most of the time. Cantilenas of the cello, tricky rhythms, and almost symphonic sound eruptions make the piece a sure-fire hit with the public.
SKU: HL.49046442
ISBN 9781540094780. UPC: 842819113003.
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.
SKU: HL.48024838
ISBN 9780851627946. UPC: 840126908787. 9.0x12.0x0.256 inches.
Commissioned by the Orchestre de Paris, and first performed by them in 1999 with soloist Anssi Karttunen, conducted by Esa-Pekka Salonen. The work is cast in a 25-minute span punctuated by an improvised cadenza. Performers not wishing to improvise may substitute Boria from Lindbergs solo cello suite Partia, which is included in the publication. Diapason commented, The writing is homogeneous, virtuosic, energetic, with the cello up near the bridge almost without interruption in a highly taut style which travels at a quickstep through all the possibilities of the instrument. Those possibilities include scordatura (for both soloist and orchestral cellos) and the so-called 'seagull' glissando.
Special Import titles are specialty titles that are not generally offered for sale by US based retailers. These items must be obtained from our overseas suppliers. When you order a special import title, it will be shipped from our overseas warehouse. The shipment time will be slower than items shipped directly from our US warehouse and may be subject to delays.
SKU: HL.48025366
UPC: 196288194279.
Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.
SKU: HL.49033212
ISBN 9790001135894. UPC: 073999282085. 9.0x12.0x0.132 inches.
This Piano Trio Passacaglia is the 'junior' companion piece to my Cello Concerto Dunkle Saiten [Dark Strings], or more precisely to the concerto's large-dimensional introductory section with the indication 'Feierlich, schreitend' [solemnly, striding]. What in the Cello concerto then inescapably culminates in a catastrophe remains in this composition ostensibly largely conflict-free. This is in fact perhaps one of my most peaceful and conflict-free compositions; it consists of half an hour of almost exclusively tonal progressions. Here, passacaglia (stepping dance!) is taken literally: the step progressions themselves become the subject of the work. This also includes pausing, not being able to progress, feeling one's way, stumbling and taking compulsive steps forward.As familiar as the harmonic surface of the structure appears, for me the natural adaptation of the musical flow was new to a similar degree. This is my attempt to produce a linear tonal band (a horizontal) exclusively with the aid of harmonic - i.e. vertical - progressions.- Jorg Widmann.
SKU: HL.49019626
ISBN 9790001193252. UPC: 888680071165. 9.0x12.0x0.2 inches.
'El-Metfarnageen' is the first piece by the young Egyptian composer and percussionist Mohamed Saad Basha published by Schott Music.In the Egyptian colloquial language, 'El-Metfarnageen' refers to a person who, strongly influenced by the Western way of living, has almost forgotten his/her true origin. As a consequence, the piece's musical motifs critically examine the influence of Western culture in North Africa while at the same time emphasizing the origins of Egypt's own musical culture shaped over millennia.'El-Metfarnageen' was commissioned by the world-famous Bibliotheca Alexandrina and performed for the first time in its historic rooms.
SKU: BR.CB-215
ISBN 9790001157223. 9 x 12 inches.
The triumphal concert hall success of Tchaikovsky's most popular and musically most valuable concert pieces for solo instrument and orchestra was preceded by severe teething troubles. His Piano Concerto No. 1 Op. 23 of 1874/75 was slated by Tchaikovsky's mentor and potential performer at the premiere, the pianist, conductor and director of the Moscow Conservatory, Nikolai Rubinstein. So Hans von Bulow premiered it gratefully and enthusiastically (in Boston, USA, on 25 October 1875). Leopold Auer, violin virtuoso and professor at the Petersburg Conservatory, to whom Tchaikovsky wanted to dedicate his Violin Concerto Op. 35 of 1878, refused to premiere it - he regarded the solo part as unrewarding and unplayable. On 4 December 1881, Adolf Brodsky premiered the Violin Concerto in Vienna, with Hans Richter conducting, but Eduard Hanslick wrote a crushing and unpleasant review. The Variations on a Rococo Theme for Cello and Orchestra Op. 33 were finally published by their dedicatee, the German cellist and professor at the Moscow Conservatory, Wilhelm Fitzenhagen, after he had almost completely rewritten and then premiered it on 18 December 1877 in Moscow, while Tchaikovsky, who had asked him to publish the work, was abroad. The original version, which can be found in this edition, was not published until the 1950s.
SKU: HL.49045225
ISBN 9790001129602. 9.0x12.0x0.122 inches. French.
If a chanson is combined with a birthday celebration (in this case, that of the Ensemble Utopik who commissioned this new work), this inevitably brings back scenes of childhood. For me, Adieu Madras conjures up memories of the homeland of my family, and in particular Henri and Jacqueline Salvador whose wonderful TV programmes I watched during the 1970s. It is without doubt thanks to Henri Salvadors wonderful interpretation that this old chanson from Martinique, dating from the late eighteenth century and almost a national anthem both in Martinique and Guadeloupe, has also gained such popularity in France. Thierry Pecou.
SKU: BO.B.3724
Cassado could be considered are the first great Catalan symphonist of the 19th Century and one of the first pre-coursers of Nationalism in our country. His is a Nationalism that is solidly based on central European traditions, mainly Germanic in its.Plus Ultra is a special case in which the desire to exhibit his deepest Nationalist sentiments took a second place to a more global style into which he incorporated harmonies and melodic turns that recall Rachmaninoff more than Albeniz. Plus Ultra can be considered as a musical thought which, in spite of references or paraphrases of some typical aspects of Spanish music of the era, is an authentic lied in which the cello sings out, using maximum of its expressive possibilities, with a piano accompaniment of the first order.In this work Cassado makes more extensive use of pianissimo, which is more typical of the French school, than in any other of his works. Through the use of gestures which are almost Impressionist, as well as refined and tasteful harmonies, the composer divides the musical discourse between the two instruments creating a fantastic work which his son Gaspar performed in concerts.
SKU: BR.EB-32072
For Sonata No. 1 in D major Op. 6 please click here.
ISBN 9790004186619. 9 x 12 inches.
Eduard Franck's two Violoncello Sonatas opp. 6 and 42 were published in 1843 and 1882, respectively, thus, almost 40 years apart. Although no authentic manuscripts sources are extant, the sonatas were likely composed fairly close to the years of their publication. That for decades Eduard Franck was reluctant to publish some of his works is well known; this then led him, only a few years before his death, to pour out a cornucopia of new compositions, some of them composed decades earlier. With this new edition of the two sonatas we are offering an important addition to the field of romantic cello sonatas.
SKU: HL.133670
Author: Bauer.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
