SKU: PR.114417250

ISBN 9781491110928. UPC: 680160631469. 9x12 inches. Key: F.

Concertino in F for English Horn and OrchestraPreviously known only through a spurious edition in G Major, the authentic Concertino in F was recently discovered in Italy by Pedro Diaz, English Hornist of the Metropolitan Opera Orchestra. Diaz prepared this ground-breaking authentic edition through comparison of the multiple historical sources and an intimate knowledge of Donizetti's works. The new edition in F Major is embellished with footnotes regarding sources and ornamentation. The piano reduction and orchestral score and parts (available on rental) were prepared by composer/oboist Mark Biggam in tandem with Diaz's work, and the publication includes extensive historical notes by scholar Michael Finkelman. PEDRO DIAZ joined The Metropolitan Opera Orchestra in 2005 and has performed as solo English Hornist in hundreds of productions. As a sought after teacher, Mr. Díaz has lectured extensively at top music conservatories including The Juilliard School, The Manhattan School of Music, The Eastman School of Music,The Hartt Music School, and Duquesne University. His international appearances include masterclasses in Panama, Italy, Mexico, Canada, Puerto Rico, Leipzig, Berlin, and Italy.A native of Puerto Rico, he received his early musical training in the “Escuela Libre de Musica,” an esteemed public school for the performing arts. He has performed as a guest artist with the Chicago Symphony, New York Philharmonic, and many other leading ensembles. His playing has been hailed by critics as evocative, eloquent and expressive and is considered one of the pre-eminent players of his generation. Mr. Díaz has performed Wagner’s Tristan und Isolde 24 times under the batons of James Levine, Daniel Barenboim, and Sir Simon Rattle.Pedro Díaz’s recording of the Donizetti Concertino in F and other concerti is available from Fox Products and online sources, performed with members of the Metropolitan Opera Orchestra. MARK BIGGAM’s compositions have been recognized in various venues throughout the United States, Central America, Asia, and Europe. He has received awards from ASCAP and the Cleveland Foundation. An oboist himself, many of Biggam’s compositions have been performed by notable oboists and English Horn players including John Mack, Joseph Robinson, Pedro Díaz, Carolyn Hove, and Dwight Parry. Premieres of his works have been featured at events including the International Double Reed Society and John Mack Legacy Camp.Biggam’s choral works have gained recognition, awards, and commissions from organizations including the Moravian Music Foundation, Ohio BoyChoir, and Triad Pride Men’s Chorus. He also has published arrangements and piano reductions of J.S. Bach’s music for Bärenreiter-Verlag. His collaborations with Pedro Díaz include the Donizetti Concertino in F as well as works of the lesser-known composers Pilotti and Mares, recorded by Mr. Diaz and members of the Metropolitan Opera Orchestra. Biggam has alsoprepared arrangements and settings of works for symphonic band, which have been performed by the Piedmont Wind Symphony.

SKU: HL.49045984

The music scene took notice of Erik Satie all of a sudden: The world premiere of his ballet 'Parade' in 1917 caused quite a scandal.The production divided the music scene of Paris, yet made the composer widely known. Satie who hardly had had any solid musical training developed a new musical style, in deliberate rejection of the 'Wagnerisme' of his time, the perfect example being his '3 Gymnopedies' of 1888 the first of which was here arranged for a solo instrument with piano accompaniment: Thanks to its easy playability, it can also be used for educational purposes.

SKU: HL.49019896

ISBN 9790220133824. UPC: 888680633110. 9.0x12.0x0.166 inches.

Largo Siciliano is a slow dance movement in a simple metre comprising a sequence of variations, separated by a refrain; a single idea is continually reworked and recast. This idea, or little siciliano, is a reference to Mode de Valeurs et d'intensites, written in 1948 by Messiaen with whom the composer studied. He writes: 'From this piece sprang the whole development of 'total serialism'. But Messiaen's piece was not serial, and nor is mine. What was originally considered as a study or experiment is, for me, a point of departure for quite different expressive intentions'.