SKU: HL.49013494

ISBN 9783795739904. 5.75x8.25x0.182 inches. German.

Wortlich ubersetzt ist das Libretto ein 'kleines Buch', ein 'Buchlein'. Doch nicht irgendein Buchlein. Seit es Opern gibt, gibt es die Textbucher dazu. Oft erzahlen die Universalsprache Musik und der Ausdruck der Darsteller die Geschichte, auch wenn man die Worte nicht versteht. Trotzdem ist ein Libretto sehr hilfreich fur das Verstandnis der Details. Gerade dann, und das fast immer, wenn die Oper in der Originalsprache aufgefuhrt wird. In den Libretti ist in der Regel das Original der Ubersetzung gegenubergestellt. Sie konnen so problemlos parallel Handlung und Inhalt folgen. In den meisten Fallen existiert das Textbuch Oper bevor die Musik dazu komponiert wird. Spannende und dramatische Geschichten bilden die Grundlage fur faszinierende Opernkompositionen.

SKU: HL.49045028

ISBN 9783795709495. UPC: 888680706364. 9.0x12.0x0.176 inches. English.

38 selections including pieces from Album for the Young, Scenes from Childhood, Album Leaves and more. Intermediate to late intermediate level.

SKU: HL.49046902

ISBN 9783795725464. UPC: 196288075288. 9.0x12.0x0.189 inches.

Julian Rowlands presents a collection of 27 Russian folk tunes arranged for accordion. Famous tunes such as Ochi Chyornye (Dark Eyes) and Kalinka appear alongside others to discover. The collection includes notes on the history of Russian folk music, as well as notes on the single tunes. German and French translations of all texts are available as PDF. All pieces have been recorded by theeditor.

SKU: HL.49045561

ISBN 9783901974045.

Strauss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.

SKU: HL.49046756

ISBN 9781705154250. UPC: 196288021841. 11.0x17.0x0.461 inches.

SKU: HL.49001401

ISBN 9790001016056. UPC: 073999352375. 7.5x11.0x0.088 inches. Hungarian.

SKU: HL.49003183

ISBN 9790220116124. UPC: 841886021365. 9.0x12.0x0.069 inches.

The Dance Suite for alto saxophone and piano is an arrangement of selected pieces from Matyas Seiber's Easy Dances, originally composed as piano pieces on the popular dance-styles of the 1920s and 30s and focusing particularly on the rhythmic characteristics of each. Seiber's life and work linked and developed many diverse musical influences, from the Hungarian tradition of Bartok and Kodaly, to Schoenberg and Serial Music, to jazz, folksong, film and lighter music (rewarded by an Ivor Novello Prize for 'By The Fountains of Rome'). A late collaboration with John Dankworth produced the 'Improvisations for Jazz Band and Orchestra'. Tango 1 * Tango 2 (Habanera) * Waltz * Blues * Charleston * Foxtrot * Cake-Walk.

SKU: HL.49028320

ISBN 9790204002870. German.