SKU: HL.14011053
UPC: 884088433604. 7.75x11.0x0.43 inches.
Purcell Society Volume 31. Full Score.
SKU: BR.PB-16105
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214329. 10 x 12.5 inches.
Johannes Brahms was long reluctant to compete with Beethoven in the field of symphonic music. With his D-major Serenade in six movements, the young composer deliberately chose a genre that had had its golden era in the 18th century, thus before Beethoven. Initially, he even conceived the Serenade for a smaller setting, but decided on a full orchestra in 1860. But even then, it was slow in becoming an audience success.The new Brahms Complete Edition has chosen as its principal source a copy of the scores first edition that Brahms used as his personal work copy. There, however, errors remained undiscovered, and recurred in later print runs as well. It was not until the new Brahms Edition that a music text of the D-major Serenade is finally being published, a text that clearly heeds all of the composers emendations and eliminates other shortcomings.
SKU: TM.06598SET
From Piano Sonata, K. 381.
SKU: TM.05167SET
Vocal Score I in German/English; Vocal Score II in English only.
SKU: TM.01165SET
Cem in set.
SKU: TM.06598SC
SKU: BA.BA04558-01
ISBN 9790006450619. 33 x 26 cm inches.
The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances.The principal Series I to IX, containing Mozart's actual oeuvre, appeared between 1956 and 1991. They are regarded as a supreme achievement of Mozart scholarship in our time; modern performances of Mozart's music are unthinkable without them. The important supplementary volumes shed fresh and illuminating light on neglected aspects of Mozart's creative work, such as his activities as a teacher or as an arranger of other composer's works.
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: HL.277281
UPC: 840126953329. 12x16.5 inches.
Nico Muhly's Looking Up for SATB choir and orchestra.Commissioned by the Cathedral Choral Society. Made possible by the William Remsen Strickland Endowment Fund “to remember the concerts of the Cathedral Choral Society during World War II”.The first performance was given by the Cathedral Choral Society, conducted by Patrick Dupre Quigley, on 21 May 2017 at Washington National Cathedral, Washington, D.C., USA.
SKU: AP.44800
UPC: 038081517339. English. Traditional.
Ever ask your intermediate students to sing their parts? This one's for you! This American fiddling song is arranged by Renata Bratt so that every section gets a chance to sing the song as well as play the tune with idiomatic fiddle breaks based on the tune. Sounds great without the singing as well! The fast driving rhythmic power of offbeat accents in cut time is emphasized in this accessible D major arrangement. This tune calls for fast left hand fingers and some quick bow-crossings, though it stays in the first position. Great fun! (1:40).
SKU: AP.44800S
UPC: 038081517346. English. Traditional.
Ever ask your intermediate students to sing their parts? This one's for you! This American fiddling song is arranged by Renata Bratt so that every section gets a chance to sing the song as well as play the tune with idiomatic fiddle breaks based on the tune. Sounds great without the singing as well! The fast driving rhythmic power of offbeat accents in cut time is emphasized in this accessible D Major arrangement. This tune calls for fast left hand fingers and some quick bow-crossings, though it stays in the first position. Great fun! (1:40).
SKU: FG.55011-539-2
ISBN 9790550115392.
Armas Jarnefelt (1869-1958) composed his Festouverture (Festive Overture) for the official opening of the Finnish National Theatre on 9 April 1902. This was a great event in the history of Finnish theatre, for it meant that the Finnish Theatre founded by Kaarlo and Emilie Bergbom in 1872 at last had a home of its own. The eight minute overture is a jubilant example of Jarnefelt's orchestral writing, through which he introduced a new, Wagnerian voice into Finnish music.
SKU: TM.06568SET
P/C in set. Hail, Hail; Hallowe'en; Jografree; The Nature Class; When Perrico plays; Indian Dance; Popular Pauline; I and Myself and Me.
SKU: TM.11880SET
No score. Soli in set. Arranged for Concerto Grossi by Geminiani from Sonatas for Violin, Bass and Harpsichord.
SKU: TM.11881SET
SKU: TM.05308SET
HWV 315. Andante-Allegro-Lentamente, Andante, Allegro, Minuetto Alternativo-Minuetto Alternativo. Matches the popular edition published by Chrysander Vol. 21 of Handel's Complete Works, and reprinted as Balfour 146. See #07044 for the Concerto No. IV in Opera Terza, included in Walsh's Select Harmony 3rd edition in 1734, and reprinted as Balfour 145 No. IV.
SKU: BR.PB-14610
ISBN 9790004211144. 10 x 12.5 inches.
Beethoven did not work continuously on this symphony and interrupted his work a couple of times. As the sketches show, he presumably wrote down first ideas in the autumn of 1800.No other autograph material has survived. As Ferdinand Ries, a pupil of Beethoven, bitterly reports, Beethoven gave him the autograph, but it was unfortunately stolen by a friend, out of pure friendship. In April 1803, the composition was premiered publicly, together with the first symphony and the third piano concerto with Beethoven himself as soloist. Although Beethoven's first two symphonies are still influenced by Haydn and Mozart, novelties can already be discovered. The second symphony starts breaking away from traditional forms and lets us surmise the monumentality of Beethoven's innovation. The editor, Armin Raab, critically illuminates the transmission of the work and its sources. He also clears up a wide spread belief in older literature, that this cheerful work might have been composed parallel to the Heiligenstadter Testament. The practical performance material by Breitkopf & Hartel is based on the music text of the New Beethoven Complete Edition and constitutes the authoritative reading of Beethoven research.
SKU: KN.9121
UPC: 822795091212.
Originating as a peasant dance in the Dauphine region of southeastern France and requiring dancers to raise rather than slide their feet, the gavotte became popular in European courts during the Baroque era. In this setting of Gossec's famous Gavotte In D, simple rhythms and interesting ornaments make it perfect for any concert program. Duration 3:15. Available in SmartMusic.
SKU: TM.05804SET
Chorus does not contain piano reduction. 7 movements: Sonata, Soli und Chorus (Soprano, Tenor, Bass), Arie (Soprano), Recitative (Tenor), Chorus (STB), Duet (Soprano and Tenor), Tenor (Solo and chorus).
SKU: HL.49008002
ISBN 9790001112369. UPC: 884088109691. 8.25x11.75x0.191 inches.
3 (2. auch Picc., 3. auch Altfl.) * 1 * Ob. d'am. * Engl. Hr. * 2 * Bassklar. (auch Kb.-Klar.) * Sopransax. * 4 (4. auch Kfg.) - 4 * 3 * Altpos. * 1 * Basspos. * Kb.-Pos. * 0 - P. S. (3 hg. Beck. * 2 Gongs * Basstamt. * chin. Gongs * Crot. * Gl. * Trinidad Steel Drum * 6 Tomt. * kl. Tr. * Mil. Tr. * gr. Tr. * Woodbl. * Flex. * Vibr. * Marimba) (5 Spieler) - 2 Hfn. * Cel. * Klav. - Str.
SKU: BR.PB-5207
ISBN 9790004209394. 10 x 12.5 inches.
Franz Schubert wrote the two movements of the Unfinished Symphony in October 1822. The torso has since been posing riddles to posterity, which first learned of the existence of this masterpiece in 1865 through the simultaneous first edition and world-premiere performance. There seems to have been no external reason for its creation. Did Schubert really consider the piece only as an experiment that did not warrant any continuation? It should be noted, however, that Schubert sketched the Scherzo up to the beginning of the Trio, and even fully orchestrated nine measures of this movement.
SKU: BR.PB-5247-07
This edition is extremely thorough and explanatory notes are clear making this a good place to start a study of the work. (Sheet Music)
ISBN 9790004209622. 6.5 x 9 inches.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.49019910
ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.
My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchesters Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken3(3.pic).2.ca.2(2.Ebcl).bcl.3(3.cbsn)-4.3(1.Dtpt).2.btbn.1-timp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version