SKU: BA.BA07569
ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.
Rameau's “Les Fêtes de l'Hymen et de l'Amour” was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïs”, “Zoroastre” and “Les Borades”. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Aruris”, a scoring found nowhere else in his uvre.For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour” presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA08893
ISBN 9790006567560. 33 x 24.3 cm inches. Text: Duplat de Monticourt, Pierre-Jacques.
This edition unites all the purely instrumental parts of Rameau’s comdie-ballet “Les Paladins” for performance as a suite in the concert hall.In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Borades” – the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this stage work not being performed again until well into the 20th century. The story that the comdie-ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opra.This critical edition is based on the corresponding volume issued in the series “Opera omnia Rameau” (BA 8870-01). Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians.The orchestral parts are available on hire.
SKU: KJ.O1057C
Tintinabulations is a light novelty piece containing the stylistic variations from the familiar holiday song Jingle Bells. The first portion of the piece goes back in time to the early 1800's and adopts the style of Gioacchino Rossini. This it seques to the elegance of waltz music from the days of the Strauss family. Progressing into the twentieth century, Jingle Bells becomes a jazzy delight featuring a special tuba solo. As the piece comes to a climatic ending, the familiar melody takes on the lively sound of Country-Western music. With bells in the background throughout most of the piece, the definition of tintinabulations comes to mind; the ringing sound of bells.
SKU: AP.44794S
UPC: 038081517247. English.
This wonderful arrangement of the second movement from Mozart's Symphony No. 17 is an excellent piece for developing ensembles to learn about the stylistic nuances of Mozart. Arranged by Steven Campbell in G Major and set in common time, younger musicians will find the setting very accessible. This is a great way to introduce varied bowing techniques like staccato, legato, spiccato, and brushed strokes that often accompany the lighter Classical style. (4:10).
SKU: AP.44794
UPC: 038081517230. English.
This wonderful arrangement of the second movement from Mozart's Symphony No. 17 is an excellent piece for developing ensembles to learn about the stylistic nuances of Mozart. Arranged by Steven Campbell in G major and set in common time, younger musicians will find the setting very accessible. This is a great way to introduce varied bowing techniques like staccato, legato, spiccato, and brushed strokes that often accompany the lighter Classical style. (4:10).
SKU: KN.8902
UPC: 822795089028.
Originally written by Edvard Grieg in 1875, this famous mazurka from Peer Gynt Suite #1 runs the stylistic gamut between delicate lyricism and spirited staccato. In his new scoring for standard string orchestra, Finno makes sure that lead material appears in all parts and says that changes in dynamics must be emphasized to give full voice to Grieg's dramatic vision.
SKU: BR.PB-5432
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004212790. 10 x 12.5 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: BA.BA10986
ISBN 9790006569106. 31 x 24.3 cm inches. Key: B-flat major. Preface: Andreas Friesenhagen.
Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the “English symphonies” as they are stylistically closely linked to the “London Bach”, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ‘Leicht und nicht vil Concertirend”, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. The Bärenreiter catalogue now includes the complete performance material for several “Sturm und Drang” symphonies as well as all the London and Paris symphonies.
SKU: BA.BA10985
ISBN 9790006568123. 31 x 24.3 cm inches. Key: C minor. Preface: Andreas Friesenhagen.
Along with Symphonies Nos. 76 and 77 Haydn composed Symphony No. 78 for a journey to England that never took place. Nonetheless, H. C. Robbins Landon referred to these works as the “English Symphonies” as they are stylistically closely linked to “the London Bach”, Johann Christian Bach. In a letter Haydn wrote to his Paris publisher Charles-Georges Boyer in 1783, he described the works as “Leicht und nicht vil Concertirend”, meaning they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form.Continuing the cooperation between Bärenreiter and the G. Henle publishing company regarding Haydn’s large-scale choral works, operas, and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydn”. To date, Bärenreiter has published the complete performance material for several of Haydn’s “Sturm und Drang” symphonies as well as the complete London and Paris symphonies.
SKU: AP.33713S
UPC: 038081375120. English.
You and your students will love putting together these charming variations based on Lewis Carroll's classic book. A simple and graceful theme, entitled Alice, is followed by four colorful variations depicting the delightfully odd characters that inhabit Wonderland. Each variation is a stylistic workshop for your students who will learn a myriad of techniques as they bring to life the Cheshire-Cat, a Mad Tea Party, a Caterpillar, and the King and Queen of Hearts. This title is available in MakeMusic Cloud.
SKU: HL.215243
9.5x12.25x0.493 inches.
Hardcover full score. Introductory texts presented in English, German, and Polish. The Lithuanian Rhapsody (Rapsodia litewska), Op. 11 is the third - after Returning Waves and Eternal Songs - of the six symphonic poems by Mieczyslaw Karlowicz. Composition was probably taking shape during the summer months of 1906 in Warsaw. Lithuanian Rhapsody differs significantly from the other parts of 'programme cycle' which Mieczyslaw Karlowicz's symphonic poems may be regarded as forming. This is a work based primarily on thematic material derived from folk output (something that would never again occur in the composer's brief biography), compared with the earlier score of Eternal Songs or the later Stanislaw and Anna Oswiecim it displays much greater stylistic independence of the German music embodied around the turn of the twentieth century.
SKU: HL.35024759
UPC: 747510071556. 8.5x11 inches.
Ken Baird has created music that is exciting and enjoyable, music that has movement, dynamic contrast, and stylistic interest, and music that is interesting for both young performers and young audiences alike. Each of the 3 sets contains four individual pieces. Pricing will make these sets a bargain for directors of young orchestras. Optional Violin 3 parts are available to reinforce or substitute for viola. A piano part, which is not required for performance, is included to be helpful to beginning orchestras.Set 2 includes:• The Great Wall• Fiesta• Celtic Roots• Heroic Adventure
SKU: HL.35024760
UPC: 888680046606. 8.5x11 inches.
SKU: AP.44787S
UPC: 038081517148. English.
This exciting new work by Michael Story is based on the style of the lively 19th century Bohemian dance of the same name. It is full of contemporary sounds, stylistic contrasts, and some easy quartal harmonies. (1:45).
SKU: PE.EP73403
ISBN 9790577018331. 297 x 420 mm inches. English.
Rihards Dubra (born Latvia, 1964) wrote his piano concerto – Liepaja Concerto No. 3 – in 2012. A 33-minute work for solo piano and symphony orchestra comprising triple wind and brass, percussion, harp and strings, the concerto starts with a mournful piano melody. It has an elemental beauty – we hear water in the sonorities of harps and chime-bells, earth in the rhythmic formulae, and fire in his colourful harmonic sequences – ending with a majestic and vibrant conclusion.
This full score (EP 73403) is now available as part of the Peters Baltic Library.
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