| Torch Songs Piano, Vocal and Guitar [Sheet music] - Intermediate Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Vocal Standards, Standards and Traditional Pop. 224 pages. 9x12 inches. Published by Hal Leonard.
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| Clarinet Solos, Duets, Ensembles, Methods & Studies for: The Ultimate Collection Clarinet CD Sheet Music
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #0...(+)
SKU: SU.00220629 Woodwinds, Clarinet. USB (PDF Scores). CD Sheet Music #00220629. Published by CD Sheet Music (SU.00220629). This CD Sheet Music collection on USB Flash Drive contains 2 complete CDSM titles: The Clarinet Solos & Duos collection makes available a wealth of music for solo clarinet including sonatas, concertos, and solo works by 28 composers from the 18th, 19th and early 20th centuries. Also included are two complete volumes of collected works: Easy Duets and Album of Short Solos by Various Composers. Works include: Baermann, C. (Duo Concertante); Baermann, H. (Adagio); Beethoven (3 Duos for Clarinet and Bassoon); Berg (4 Pieces for Clarinet & Piano); Brahms (Sonata Nos. 1 & 2); Busoni (Elegie for Clarinet & Piano); Cavallini (30 Caprices for Clarinet); Debussy (Première Rhapsodie); Fauré (Berceuse); Gade (4 Fantasy Pieces); Glazunov (Saxophone Concerto [for clarinet & piano]); Jeanjean (Variations on Au Clair de la Lune); Klosé )Souvenir); Mason (Sonata for Clarinet & Piano); Mendelssohn (Concert Piece for 2 Clarinets & Piano); Mozart, L. (Concerto in Bb major); Mozart, W.A. (3 Duets for 2 Clarinets); Paganini (14 Caprices); Pierné (Pièce in G minor); Prokofiev (Visions Fugitives); Reger (Sonata Nos. 1 & 2); Reinecke (Sonata, Undine); Saint-Saëns (Sonata in Eb major); Schumann (Fantasy Pieces, 3 Romances); Spohr (Concerto Nos. 1-4); Stravinsky (3 Pieces for Clarinet Solo); Wagner (Adagio for Clarinet & Strings); Weber (Fantasia & Rondo, Grand Duo Concertante) Easy Duets Book 1: works by Fodor, Pleyel, Volckmar, Wanhal; Book 2: works by Mazas, Bruni, Campagnoli, Gebauer, Geminiani, Haydn, Pleyal, Viotti Album of Short Solos by Various Composers: 30 familiar works arranged for clarinet, including Brahms (Cradle Song), Dvorák (Humoreske), Fibich (Poéme), Handel (Largo), Giordani (Caro mio bien), Richter (Seppl-Polka), Schubert (Ave Maria), Schumann (Träumerei), Weber (Bauernwalzer), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1200+ pages The Clarinet Methods, Studies & Ensembles collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser-known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Methods, Studies & Exercises include: Baermann (Complete Method for Clarinet, Op. 63); Klosé (Conservatory Method, 25 Daily Exercises, 30 Studies after Aument); Langenus (Complete Method for Clarinet); Rose (32 Etudes for Clarinet) Ensembles include: Amberg (Fantasiestücke, Suite for Flute, Oboe, Clarinet & Piano); Beethoven (Quintet for Piano and Winds); Brahms (Quintet for Clarinet & Strings, Trio for Clarinet, Cello & Piano); Bruch (8 Piece for Clarinet, Cello & Piano); Cavallini (Rêverie Russe for Flute, Clarinet, and Piano); d'Indy (Trio for Piano, Clarinet, and Cello); Fibich (Quintet for Clarinet, Violin, Cello, Horn, & Piano); Glinka (Trio Pathétique, for Clarinet, Cello, & Piano); Hummel (Serenade No. 1 for Flute, Clarinet, Viola, & Cello); Liadov (8 Russian Folk Dances); Mozart (Twelve Minuets for 2 Clarinets or Basset Horns, Five Divertimenti for 2 Clarinets & Bassoon), Quintet for Clarinet & Strings, Quintet for Piano & Winds, Trio for Clarinet, Viola & Piano); Ravel (Intruduction & Allegro); Reger (Quintet for Clarinet & Strings); Rimsky-Korsakov (Quintet for Piano & Winds); Saint-Saëns (Tarantella for Flute, Clarinet & Piano); Schubert (Der Hirt auf dem Felsen); Schumann (Märchenerzählungen, for Clarinet, Viola & Piano); Spohr (Fantasy & Variations); Titl (Serenade for Violin, Clarinet & Piano); Zemlinsky (Trio for Clarinet, Violin & Cello) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2100+ pages Published by: CD Sheet Music. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Complete Method for Modern Guitar Guitar [Sheet music] Mel Bay
by Mel Bay. For all guitars. Modern Guitar Method. All styles, solos & duets. Le...(+)
by Mel Bay. For all guitars. Modern Guitar Method. All styles, solos & duets. Level: Multiple Levels. Book. Method. Size 8.75x11.75. 320 pages. Published by Mel Bay Pub., Inc.
$39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jumbo Songbook Organ Hal Leonard
(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electroni...(+)
(E-Z Play Today #199). Composed by Various. For Organ, Piano/Keyboard, Electronic Keyboard. E-Z Play Today. Softcover. 528 pages. Published by Hal Leonard
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 25 Spirituals Arranged by Harry T. Burleigh Low voice [Sheet music + Audio access] Hal Leonard
With companion recordings of Piano Accompaniments Low Voice, Book/Audio. Arrange...(+)
With companion recordings of Piano Accompaniments Low Voice, Book/Audio. Arranged by Harry T. Burleigh. Vocal Collection. Sacred, Spirituals. Softcover Audio Online. 88 pages. Published by Hal Leonard
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Debbie Campbell: The First Kids In Space (Pupil's Book) Guitar - Easy Music Sales
Piano, Vocal and Guitar - Grade 2 SKU: HL.14011400 Composed by Debbie Cam...(+)
Piano, Vocal and Guitar - Grade 2 SKU: HL.14011400 Composed by Debbie Campbell. Music Sales America. Musical Education. Book [Softcover]. Composed 2015. 16 pages. Music Sales #GA11014. Published by Music Sales (HL.14011400). ISBN 9780711956056. 9.0x12.0x0.052 inches. English. A fun space adventure musical full of information on technology, the solar system and travel. Ideal as an end of term production at any time of the year. Duration: 45 mins. If you need to license a school/youth theatre performance of this product, please use the online application form. $7.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 25 Spirituals Arranged by Harry T. Burleigh High voice [Sheet music + Audio access] Hal Leonard
With companion recorded Piano Accompaniments High Voice, Book/Audio. Arranged by...(+)
With companion recorded Piano Accompaniments High Voice, Book/Audio. Arranged by Harry T. Burleigh. Vocal Collection. Sacred, Spirituals. Softcover Audio Online. 88 pages. Published by Hal Leonard
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| 100 Solos: Clarinet Clarinet [Sheet music] Amsco Wise Publications
By Robin De Smet (Arranger). For Clarinet. Pop. Sheet Music. 96 pages. Published...(+)
By Robin De Smet (Arranger). For Clarinet. Pop. Sheet Music. 96 pages. Published by Wise Publications.
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| Robert Johnson - Easy Guitar Collection Guitar notes and tablatures [Sheet music] - Easy Hal Leonard
Performed by Robert Johnson. Easy Guitar (Simplified arrangements for guitar). W...(+)
Performed by Robert Johnson. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 48 pages. Published by Hal Leonard.
(2)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Pavane pour une Infante Défunte Saxophone Quartet: 4 saxophones Advance Music
4 Saxophones SATBar SKU: AP.1-ADV7408 For SATB Saxophone Quartet. ...(+)
4 Saxophones SATBar SKU: AP.1-ADV7408 For SATB Saxophone Quartet. Composed by Maurice Ravel. Arranged by Christoph Enzel. Masterworks; Quartet; Solo Small Ensembles; Woodwind - Saxophone Quartet. Advance Music. Impressionistic; Masterwork Arrangement. Score and Part(s). Advance Music #01-ADV7408. Published by Advance Music (AP.1-ADV7408). ISBN 9783892215639. UPC: 805095074086. English. The Pavane for a Dead Princess is considered to be one of Ravel's most popular works. The solemn and stately court dance strutting along in an even pulse turns into a melancholic, yet not sombre dirge.
The arrangement on hand is in line with the orchestral version written by Ravel himself in 1910 and constitutes part of the series Ravel for Saxophone Quartet including publications of, among others, Ma Mère L'Oye (Mother Goose), Trois Chansons (Three Songs), and Le Tombeau de Couperin. $17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Musik Im 20. Jahrhundert Schott
SKU: HL.49008379 German/French Language. Edited by Giselher Schube...(+)
SKU: HL.49008379 German/French Language. Edited by Giselher Schubert. This edition: Hardback/Hard Cover. Book. Edition Schott. Eine komplexe Einfuhrung in ein musikhistorisch relevantes Problemfeld mit signifikantem Bezug zur Gegenwart. Classical. 262 pages. Schott Music #ED 9311. Published by Schott Music (HL.49008379). ISBN 9783795704339. UPC: 073999370621. 6.75x9.5x0.706 inches. German - French. The volume concentrates on the characteristic agreements and differences in French and German music and musical development during the 20th century from an historico-aesthetic point of view. Particular attention is given to movements unique to one country such as Expressionism and Neue Sachlichkeit on the one hand and Musique concrete and Musique acousmatique on the other and the reasons for their lack of equivalent in the other country. $62.00 - See more - Buy online | | |
| Exodus [Score] PWM (Polskie Wydawnictwo Muzyczne)
Mixed Choir and Orchestra SKU: BT.PWM8597 Composed by Wojciech Kilar. Cla...(+)
Mixed Choir and Orchestra SKU: BT.PWM8597 Composed by Wojciech Kilar. Classical. Score Only. Composed 2000. 96 pages. Polskie Wydawnictwo Muzyczne #PWM8597. Published by Polskie Wydawnictwo Muzyczne (BT.PWM8597). ISBN 9788322405000. ''The title refers to the Biblical Book of Exodus. The biblical words of the song: we will sing unto Yahwe, for He has triumphed gloriously;...'', which the people of Israel chant after passing through the Red Sea serve as the motto of the composition. The formal concept of the piece refers to M. Ravels ''Bolero''. The composer has confirmed in his statements that this reference is fully intentional. ''Exodus'' would be the third - after Ravel and Shostakovich (Symphony No.7) - version of a fascinating crescendo of form, based on one theme or idea obsessively repeated. Its first performance at the Warsaw Autumn Festival in 1981 provoked a tremendous ovation. The audience, at first confused by the continual repetition of the E-major chord (bursts laughter were even heard), was eventually abducted by the force and dynamism of the composition. $40.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| French Piano Music: The Ultimate Collection, Part 1 Piano solo [CD Sheet Music] CD Sheet Music
SKU: SU.00220525 Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet M...(+)
SKU: SU.00220525 Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet Music #00220525. Published by CD Sheet Music (SU.00220525). This CD Sheet Musicâ?¢ collection brings together over 140 works for solo piano, piano duo, and piano four-hands by both familiar and lesser-known French composers active in the 19th and early 20th centuries. Works include: Alkan (Saltarelle, Symphony, from 12 Ã?tudes; Concerto, from 12 Ã?tudes, Le Festin d'Ã?sope, Theme and Variations); Bizet (Variations Chromatiques de Concert, Jeux d'Enfants Parts 1and2); Chabrier (Pièces Pittoresques, Bourrée Fantasque, 3 Valses Romantique); Chaminade (Air de Ballet, Scarf Dance, Scène de Ballet); D'Indy (Poème de Montagne, Sonata in E); Dukas (Variations, Interlude et Finale,sur un thème de Rameau) Franck (Danse Lente, Prélude, Aria et Final, Short Pieces (originally for Harmonium), Variations Symphoniques); Ibert (Histoires I-X, Matin sur l'Eau); Koechlin (Paysages et Marines I-XII); Massenet (10 Pièces de Genres, Toccata); Milhaud (Saudades Dos Brasil); Poulenc (3 Movements Perpétuels, Cinque Impromptus); Ravel (Gaspard de la Nuit, Miroirs, Ma Mère l'Oye (arr for solo piano), Sonatine, Le Tombeau de Couperin, Valses nobles et sentimentals); Roussel (Des Heures Passant..., Rustiques, Sonatine); Saint-Saëns (Danse Macabre, Romance without Words, 3 Mazurkas, Ã?tudes Books IandII, Variations sur un Thème de Beethoven); Satie (3 Gymnopédies, 3 Gnossiennes, Embryons Desséchés, Descriptions Automatiques, Embroyons Desséchés, Sports et Divertissements, Morceaux en forme de Poire); Schmitt (Musiques Intimes, Books IandII); Vierne (Suite Bourguignonne), and more Also includes composer biographies and relevant articles from the 1911 edition of Groveâ??s Dictionary of Music and Musicians 2300 pages Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Trois Melodies Piano, Voice Alfred Publishing
Voice and Piano SKU: AP.36-M282791 Composed by Erik Satie. Performance Mu...(+)
Voice and Piano SKU: AP.36-M282791 Composed by Erik Satie. Performance Music Ensemble; Solo Voice with Piano. Ludwig Masters. Score and Part(s). Alfred Music #36-M282791. Published by Alfred Music (AP.36-M282791). UPC: 660355191053. English. Satie wrote Trois Mélodies, a lighthearted cycle of three songs, for the mezzo-soprano Jane Bathori, a star of the Parisian opera world. They were first performed by Bathori and pianist Ricardo Viñes at the "Ravel-Satie Festival" in Paris on April 18, 1916. Song titles: 1. La statue de bronze, 2. Dapheneo, 3. Le chapelier. 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. $3.95 - See more - Buy online | | |
| Masterwork Classics Duets, Level 6 1 Piano, 4 hands - Intermediate Alfred Publishing
(A Graded Collection of Piano Duets by Master Composers). Edited by Gayle Kowalc...(+)
(A Graded Collection of Piano Duets by Master Composers). Edited by Gayle Kowalchyk, E. L. Lancaster, and Jane Magrath. For Piano. Book; Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition: Master
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ultimate Pop/Rock Fake Book - In C
C Instruments [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Pop rock, rock and pop. Series: Hal Leonard Fake Books. 584 pages. 9x12 inches. Published by Hal Leonard.
(26)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Les Voyages de Gulliver Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band - Grade 5 SKU: BT.DHP-1033505-040 Gulliver's Travels....(+)
Concert Band - Grade 5 SKU: BT.DHP-1033505-040 Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033505-040. Published by De Haske Publications (BT.DHP-1033505-040). 9x12 inches. Duration: 19:00 minutes
Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.
1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire. $322.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flute Classics for Flute and Guitar Flute and Guitar Barenreiter
Edited by Berthold Kloss. For flute/guitar. Stapled. Ready to Play. Performance ...(+)
Edited by Berthold Kloss. For flute/guitar. Stapled. Ready to Play. Performance score, part(s), anthology. Text Language: German/English. 18/16 pages. Published by Baerenreiter Verlag
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fussreise Choral SATB SATB, Piano [Score] - Intermediate Carus Verlag
SATB Choir, Piano - Level 3 SKU: CA.925600 Composed by Hugo Wolf. Arrange...(+)
SATB Choir, Piano - Level 3 SKU: CA.925600 Composed by Hugo Wolf. Arranged by Denis Rouger. Separate edition to the CD. Lieder, Secular choral music. Full Score. Duration 3 minutes. Carus Verlag #CV 09.256/00. Published by Carus Verlag (CA.925600). ISBN M-007-24918-2. Key: D major. German. Text: Morike, Eduard. Hugo Wolf set a total of 53 songs by Eduard Morike, all in the year 1888. The composer wrote in a letter: Once you have heard this song, it can only inspire one wish - to die. In the artistic-metaphysical milieu of the late 19th century this was regarded as the highest ideal, especially for Hugo Wolf, who believed in the body as a wretched piano case from which the soul can only break free like harmonies dying away. And yet Fussreise (Journey on Foot) begins as a simple, happy, elated song of travel, revolving around the key of D major over an ostinato piano rhythm. Old Adam believes he senses the bliss of paradise in this, but he continues to be caught in the tension between earthly suffering and eternal longing, as the rest of Hugo Wolf's setting clearly shows: it remains a pious hope that a whole life would be such a morning journey bathed in gentle perspiration. These art songs were originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495). $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Do Not Stand at My Grave Hal Leonard
Choral (3 Part Treble choir) SKU: HL.254709 Composed by James Deignan. He...(+)
Choral (3 Part Treble choir) SKU: HL.254709 Composed by James Deignan. Henry Leck Creating Artistry. Concert. Octavo. 20 pages. Published by Hal Leonard (HL.254709). UPC: 888680721954. 6.75x10.5 inches. This frequently set text by Mary Elizabeth Frye is full of hope and life. In this new setting, the violin soars as if to represent the spirit that has left the grave. The repeating text “I'm not there, I'm not gone” over an ascending 1/16th note pattern gives your singers the sense of traveling to places yet unknown. $2.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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