SKU: BT.EMBZ7817
English-German-Hungarian.
The sonatas are not grouped according to their degree of difficulty, they are given in the order which corresponds with the Kirkpatrick numbering. This is approximately identical with the order in which they were composed. In this way it became possible for the pairs of sonatas included in the selection to be placed closely after one another. Apart from inevitable minor alterations this edition follows the original text and its markings exactly. This does not apply to the fingering which is entirely an editorial addition. (In the original there is no fingering.) An ABRSM syllabus title, 2013-14, Grade 6.Die Sonaten bringen wir nicht nach Schwierigkeitsgraden geordnet, sondern in der Reihenfolge von Kirkpatricks Verzeichnis. Diese Anordnung entspricht annähernd der Entstehungszeit der Stücke. Dadurch ist es möglich die paarweise zusammengehörenden Sonaten der Auswahl nebeneinander zu stellen. Unsere Ausgabe folgt, von kleineren, notwendigen Umstellungen abgesehen, genau dem Originaltext und dem ursprünglichen Zeichensystem. Dies bezieht sich jedoch nicht auf den Fingersatz, der durchweg ein Vorschlag des Herausgebers ist.
SKU: BT.EMBZ1971
'The significance of the Rhapsody composed in 1904 in Gerlicepuszta and Pozsony is well shown by the fact that Bartók subsequently reserved the designation 'Opus 1' of his last, mature opus numbering for this piece. By choosing this genre Bartók was clearly following in Liszt's footsteps. But he did not merely follow the Hungarian Rhapsodies with their parading of folkloristic art songs in a virtuoso instrumental fantasy. The formal coherence of Bartók's work allows us to infer the influence of the large-scale Liszt compositions he then knew, such as the B minor Sonata. Unlike Liszt, Bartók builds his Rhapsody not on familiar melodies but on themes of his own invention, yet hisstyle is still that of nineteenth-century folkiness, and draws on the art-music tradition based on the verbunkos and the csárdás.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh).
SKU: PO.PE201
ISBN 9781776609215.
A master in the art of counterpoint, Borden initially derived the musical material of each of the preludes and fugues in this collection from the letters of the name of the person to whom it is dedicated. Using the Pythagorean numerology alphabet, the remaining letters in the name were matched to a number, and then these numbers were assigned to the pitches of a mode that best fit the name. Once a suitable mode was found, and each letter assigned its pitch, the rhythmic shape of the fugue subject was determined.
SKU: PO.PE202
ISBN 9781776609222.
SKU: HL.234744
9.0x12.0x0.035 inches.
Composer's Note: The Lullaby from The Unicorns arose from an opera libretto I commissioned from John Heath-Stubbs (1918-2006) in the late 1960s. In his story two unicorns are discovered in a remote part of Africa. Both the East and West want to obtain them for research so they send out rival expeditions. The Western technique is to lure the unicorn with a young girl singing a lullaby. Both East and West capture unicorns but the mythical animals escape in the end. I never completed the opera but I made a six-movement suite from it called The Unicorns. There are three songs and three instrumental numbers and the first performance was given with Elisabeth Soderstrom and Solna Brass under Lars-Gunnar Bjorklund at Ekensbergskyrkan, Solna, Sweden on 31 October 1982. This version was recorded and my arrangement of the three songs for voice and piano was recorded by Marilyn Hill Smith. The career of the Lullaby continued with a version for clarinet and piano, which I premiered with Jack Brymer aboard the Sea Princess in the Mediterranean on 29 September 1986. The oboe version was for Sarah Francis, and Duke Dobing and I have recorded it for flute an piano. Lullaby can be played with a variety of solo instruments and is also available for piano left hand and piano solo.
SKU: HL.51489928
ISBN 9790201899282. UPC: 884088519018. 6.75x9.5x0.769 inches. Eds. Wolf-Dieter Seiffert, Wiltrud Haug-Freienstein, Ernst Herttrich & Robert Munster.
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are appearing as one editorial project. Spanning almost ten years of painstaking work, all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from our catalogue. Arranged clearly according to opus numbers, it includes not only all of Schumann's piano works, revised to reflect the latest scholarly findings, but also informative accompanying texts, alternative versions and much more besides. Contents: Faschingsschwank aus Wien op. 26; 3 Romanzen op. 28; Scherzo, Gigue, Romanze und Fughette op. 32; Album für die Jugend op. 68 ; Vier Fugen op. 72; Vier Märsche op. 76; Waldszenen op. 82.
SKU: BT.WIL725
ISBN 9789043152969.
A collection of Voluntaries from John Stanley's Opus 5 numbers 5 and 7; and Opus 6 numbers 2, 5 & 8.
Set for Organ and arranged by T. van Essen suitable for those working at Grades 4 to 5.
SKU: AP.36-M321691
UPC: 660355010828. English.
"In the Bottoms" is a Suite of five numbers giving pictures of moods or scenes peculiar to African-American life in the river bottoms of the South. It is similar in its expression, and in a way continuation, of the sentiments already set forth in the "Magnolia Suite," but suggests ideas incidental to life in a more particular geographic territory. Movements: 1. Prelude (Night) 2. His Song 3. Honey (Humoresque) 4. Barcarolle (Morning) 5. Dance (Juba).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
