SKU: BT.RICL00003700

English.

One of Australia’s best-known composers, Ross Edwards’ distinctive sound world combines shapes and patterns from nature with a variety of musical resources which reflect and celebrate Australia’s cultural diversity.White Cockatoo Spirit Dance has all the characteristics of a maninya, or dance-chant. Ross Edwards coined the word maninya to denote the chant-like quality of one strand of his music, a unique and highly characteristic form which results from thesubtly varied repetition of material over a static harmonic basis in a lively tempo.Vibrant, captivating, life-affirming and virtuosic, White Cockatoo Spirit Dance is a spontaneous melodic outpouring. It also exists as a viola solo from which it has been adapted for violin by the composer.

SKU: M7.RICL-3700

ISBN 9790570026548.

SKU: GI.G-8883

UPC: 785147888307. English. Text Source: 'All Hail the Power of Jesus' Name,' Edward Perronet, 1726-1792. Text by Edward Perronet.

SKU: BR.SON-624

ISBN 9790004803264. 9 x 12 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts ... are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. ... In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. ... For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. ... JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

SKU: BR.SON-637

ISBN 9790004803929. 9 x 12 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

SKU: PL.0122

This imaginative setting of words by John White Chadwick creates a feeling of eternal strength from its constant musical flow. Peter Pindar Stearns is well known for his sensitivity to text and choir alike and this anthem reflects his keen imagination as well. The first verse is set in unison with a lovely soaring melody while the second verse supports the melody in four-part writing. A brief organ interlude ensues before the final verse which is for two part women and men's voices concluding in a spirit of unity.

Peter Pindar Stearns has surpassed even my highest expectations for him with his Eternal Ruler, a tribute to Edwardian and post-Edwardian hymn anthems. Where to begin? Imagine the finest, broadest melody Gustav Holst could write, add the impassioned fervor of Balfour Gardiner's Evening Hymn or Stanford in B-flat, and hold all that together with Stearns's ultimate integrity and infallible taste. Every time I play and sing through this, it leaves me in tears, and I haven't even mentioned the amazing subtlety of Stearns's harmony, the genius of his part writing, and the overwhleming sweep of his lines. This is gorgeous, glorious music. - Dr. John Hooker AAM Journal November 2001.