SKU: AP.36-M181291
UPC: 660355185809. English.
Maurice Ravel (1875-1937) wrote the first of his CINQ MÉLODIES POPULAIRES GRECQUES (Five Greek Folk Melodies) in 1904 at the urgent request of Pierre Aubry, who wished to illustrate a lecture he was giving on Greek folksong. Initially given five folksongs from which to choose, Ravel supplied a piano accompaniment for them in only thirty-six hours. Having impressed those who supplied the original five, three more were produced, which Ravel also quickly set to piano accompaniment, in a style imitative of the Mediterranean lands, but remaining distinctly French in its execution. The five melodies in this collection were selected from those eight. Ravel had started orchestrating all five as well, completing two, leaving Manuel Rosenthal to complete the remaining three. Songs in the collection: I. Le Réveil de la Mariée (Wake Up, My Dear), II. Là -bas, vers l'église (Out There, Where the Church Tower), III. Quel galant m'est comparable (Which Gallant Can Compare With Me?), IV. Chanson des cueilleuses de lentisques (Song of the Lentisk Gatherers), and V. Tout gai! (Be Gay!). The Ravel/Rosenthal orchestrations have been edited by Clinton Nieweg in an edition available from E.F. Kalmus.
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.
SKU: BT.EMBZ20017A
English-German-Hungarian.
In 1845 Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). It was central to his ambition to attain status as a major European composer, with premieres variously planned for Milan, Vienna, Paris and London. But he abandoned it half way through, and the music he completed has lain silently for 170 years. Liszt’s difficulty in obtaining a libretto meant that composition only began in April 1850. He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music ‘sketch book’. The unnamed librettist was an Italian poet and political prisoner, seemingly living under house arrest, and a close acquaintance of Cristina Belgiojoso. His libretto survives as underlay in the N4 sketchbook and has been critically reconstructed and translated. Sardanapalo is Liszt’s only mature opera. While he consistently referred to it in French, as Sardanapale, the published title of the Italian opera would almost certainly have used the Italian name, hence this forms the title of the first edition. There are three solo roles and a chorus of concubines. The manuscript was previously thought to be fragmentary and partially illegible, but it was finally deciphered to international acclaim in March 2017. Liszt’s score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian. The opera sets Byron’s tragedy about war and peace in ancient Assyria: the last King, effeminate in his tastes, is drawn to wine, concubines and feasts more than politics and war: his subjects find him dishonourable (a ‘man queen’) and military rebels seek to overthrow him, but are pardoned, for the King rejects the ‘deceit of glory’ built on others’ suffering: this leads only to a larger uprising, the Euphrates floods its banks, destroying the castle’s main defensive wall, and defeat is inevitable: the King sends his family away and orders that he be burned alive with his lover, amid scents and spices in a grand inferno. As Byron put it: ‘not a mere pillar formed of cloud and flame, but a light to lessen ages.’ For his part, Liszt told a friend that his finale ‘will even aim to set fire to the entire audience!’ This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.
SKU: HL.48187326
UPC: 888680828882. 9.0x12.0x0.119 inches.
“Compiled by Joseph Canteloube, this book is the first set from the series Songs from the Auvergne. It features three songs, including the most famous one ?Báïlèro?. This edition, written for Voice and Piano, contains lyrics in the local dialect ?Occitan?, with the French translation below. Some directives are given to obtain the correct pronunciation of the language. I. La Pastoura als camps (La Bergère aux champs) / Shepherdess in the fields II. Báïlèro (Chant de Bergers) / Shepherd?s song III. Trois Bourrées a. L?aïo de rotso (L?eau de source) / Spring Water b. Ound? onoren gorda ? (Où irons-nous garder ?) / Where will we take the sheep c. Obal din lou Limouzi (Là -bas dans le Limousin) / There, in the Limousin Each piece is also commented with the exact location the song is from Joseph Canteloube (1879-1957) was a French composer, musician and author, mainly known for his folk songs and for the series 'Songs from the Auvergne' inspired by the area his family was from.â€.
SKU: BT.DHP-1165710-401
ISBN 9789043150248.
The 28-year-old Jon Lord, with no experience at all of writing for orchestra, composed this work in only three months in the lead-up to its premiere with the Royal Philharmonic Orchestra and Malcolm Arnold. It was his first workfor orchestra, launching his career as both a classical composer and a founding member of Deep Purple. It is notably rich in youthful invention, sound in structure, and sophisticated in craftsmanship. It broke new ground at thetime, and seems only to have grown in stature across the intervening years. The full score appears here in print for the first time ever, meticulously edited by the composerââ¬â¢s long-time musical collaborator Paul Mann.De 28 jaar oude Jon Lord, die nog geen enkele ervaring had in het schrijven voor orkest, componeerde dit werk in slechts drie maanden in de aanloop naar de première met het Royal Philharmonic Orchestra en Malcolm Arnold. Hetbetreft dus zijn eerste compositie voor orkest en hij lanceerde hiermee zijn parallelle carrières als componist en medeoprichter van Deep Purple. Het werk is rijk aan jeugdige vindingrijkheid, goed opgebouwd en met vakmanschapgemaakt. Het was destijds baanbrekend en het lijkt in de loop der jaren alleen maar aan zeggingskracht te hebben gewonnen. De volledige partituur verschijnt nu voor het eerst op papier, in een consciëntieuze bewerking doorPaulMann, met wie de componist op muzikaal gebied al jaren samenwerkt. Partitur und Klavierauszug des Concertos können käuflich erworben werden. Das Einzelstimmen-Set ist ausschließlich Leihmaterial.Auskunft über Leih-Bedingungen und Preise erhalten Sie auf Nachfrage. Bittekontaktieren Sie: HalLeonard Europe BV - Rental departmentE-Mail: rental@halleonardeurope.nlDer 28 Jahre alte Jon Lord, der bis dahin keine Erfahrung im Bereichder Orchesterkomposition hatte, brauchte für dieses Werk nur drei Monate, bis es mit dem Royal Philharmonic Orchestra unter der Leitung von Malcolm Arnold uraufgeführt wurde. Seinerstes Werk für Orchester ist der Beginn seinerparallelen Karriere als Komponist und Gründungsmitglied der Rockband Deep Purple. Das Stück zeichnet sich durch jugendlichen Einfallsreichtum, einen strukturierten Klang sowie ein ausgeklügeltes Könnenaus. Es galt damals alsbahnbrechend und seine Bedeutung scheint in der Zwischenzeit weiter gestiegen zu sein. Die Partitur erscheint hier zum allerersten Mal im Druck und wurde bis ins kleinste Detail von Paul Mann, einem langjährigenmusikalischenFreund des Komponisten, herausgegeben. Jon Lord, gé de 28 ans et sans aucune expérience en composition pour orchestre, écrit cette à âuvre en seulement trois mois lââ¬â¢approche de sa première avec le Royal Philharmonic Orchestra dirigé par Malcolm Arnold. Cette premièreà âuvre pour orchestre lança ses carrières parallèles de compositeur et membre fondateur de Deep Purple. Elle est particulièrement riche en invention juvénile, solide en structure et raffinée en artisanat musical. Innovante lors desa première, cette à âuvre ne semble que gagner en stature depuis lors. La partition complète apparaît ici en publication pour la première fois, en édition méticuleusement préparée par le collaborateur du compositeurdepuislongtemps, Paul Mann.
SKU: BT.ALHE28794
French.
Compiled by Joseph Canteloube, this book is the first set from the series Songs from the Auvergne. It features three songs, including the most famous one _x001A_Bá lèro_x001A_. This edition, written for Voice and Piano, contains lyrics in thelocal dialect _x001A_Occitan_x001A_, with the French translation below. Some directives are given to obtain the correct pronunciation of the language. I. La Pastoura als camps (La Bergère aux champs) / Shepherdess in the fields II. Bá lèro(Chant de Bergers) / Shepherd's song III. Trois Bourrées a. L'a o de rotso (L'eau de source) / Spring Water b. Ound' onoren gorda ? (Où irons-nous garder ?) / Where will we take the sheep c. Obal din lou Limouzi (L -bas dans leLimousin) / There, in the Limousin Each piece is also commented with the exact location the song is from Joseph Canteloube (1879-1957) was a French composer, musician and author, mainly known for his folk songs and for theseries 'Songs from the Auvergne' inspired by the area his family was from.
SKU: BR.EB-8888
ISBN 9790004185117. 0 x 0 inches. German.
The piano-accompanied Lied is undoubtedly the main genre of Pauline Viardot-Garcia's oeuvre. With this volume, we present settings of German texts by such poets as Ludwig Uhland, Eduard Morike, Johann Wolfgang von Goethe, Heinrich Heine, Emanuel Geibel, Ludwig Rellstab and Richard Pohl. Except for the Uhland settings, these German Lieder were written between 1862 and 1871 during Viardot's Baden-Baden period, when she shifted the focus of her activities from singing to composing and teaching. Here she worked, among other things, on the poetry of Eduard Morike, which she called the greatest and most genuine in all German poetry after Goethe.One of her first published songs was the setting of the Uhland poem Des Knaben Berglied. Accompanying herself on the piano, she performed it in 1838 on her first concert tour of Germany. A performance of the song at the Leipzig Gewandhaus prompted Robert Schumann to remark: She showed three talents here [composition, singing and piano playing], each of which would grace its artist. Through her music, Viardot brings the creatures in the poems to life, tracing their different characters and inner states, thus giving the texts a new level of interpretation.Miriam-Alexandra Wigber's recordings of songs from this edition can be found on YouTube.
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