SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: SA.41762
ISBN 9781608741762. 9.5 x 12.5 inches.
Composed in the late summer of 1876, Dvorak's first effort at a full-blown concerto shows signs of an unusual amount of revision in the composer's hand - especially for the solo piano part. This might explain the delay in the concerto's premiere, which was given at the Provisional Theatre in Prague on March 24, 1878 with Karel Slavkovsky as soloist accompanied by the Provisional Theatre Orchestra under the baton of Adolf Cech. The composer himself wrote: I see I am unable to write a Concerto for a virtuoso; I must think of other things. The ungainly solo part no doubt also played a role in the work's dely in publication, which didn't take place until 1883. Even after this, and despite much beauty in the music itself, performances were scarce due to the difficulty and charchter of the solo part. The solo part was revised heavily by the Czech pianist Vilem Kurz (1872-1945), whose version was premired by his daughter Ilona KurzovA! and the Czech Philharmonic on December 9, 1919 and is the one most often performed today. This new study score is a digitally enhanced reissue of the full score first published in 1956 by the Czech State Publishers as part of the Dvorak collected works, edited by Jiri Berkovec and Karel Solc, which includes both the composer's original solo part and the re-arranged one made by Kurz. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.
SKU: BR.DV-4252-14
Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller
ISBN 9790200440034. 9 x 12 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller Price reduction for a subscription.
SKU: BR.SON-409
ISBN 9790004802366. 10 x 12.5 inches.
The Leipziger Ausgabe der Werke von Felix Mendelssohn Bartholdy pursues the goal of making accessible to the public in an adequately scholarly form all of Mendelssohn's accessible compositions, letters and writings, along with all other documents of his artistic oeuvre. A considerable number of Mendelssohn's works are still waiting to be published; many others have been published in an unsatisfactory manner.Though the new Mendelssohn Complete Edition follows the ten volumes of the Leipziger Mendelssohn Ausgabe (LMA) published by the Deutscher Verlag fur Musik (DVfM) in Leipzig since 1961, it sees itself as a fundamentally new conception which reflects the present-day standard of scholarly editions.The first volumes of the new Complete Edition were presented in Leipzig on 3 November 1997 at Mendelssohn Festtage in Leipzig.SON 411 - 413 have been awarded the German Music Edition Prize 2006.Editorial Board: Christian Martin Schmidt (chairman), Peter Ward Jones, Friedhelm Krummacher, R. Larry Todd, Ralf Wehner; research associates: Ralf Wehner, Clemens Harasim, Birgit Muller.
SKU: BR.PB-15160
ISBN 9790004215654. 10 x 12.5 inches.
Paganini's Capricci served as inspiration for many composers. In addition to Brahms, Schumann and Liszt, Rachmaninoff was also inspired by the idea. His Rhapsody on a Theme by Paganini has since become one of his best known and most popular works and was an immediate success. In 1934, between two intense concert seasons, Rachmaninoff took advantage of the peace and quiet at his villa on Lake Lucerne to compose the Variations. Paganini's virtuosity and joy of playing are juxtaposed with the Gregorian sequence Dies irae. A symbol of the evil spirit to which Paganini sold his soul? At least that is how Rachmaninoff wrote it in a letter to the choreographer Fokine. For the demanding piano part, the composer and celebrated pianist himself had to start practicing very early: The composition is very difficult, and I should really start practicing now, but I get lazier with my finger exercises year after year.The editor, Norbert Gertsch, presents with this edition for the first time an Urtext edition of the work that Joachim Kaiser described as Rachmaninoff's most spiritual, witty, elegant work for piano..
SKU: HL.49011963
ISBN 9783795793197. UPC: 073999799019. 10.0x13.25x1.268 inches.
Schumann's Piano Concerto is known all over the world, yet despite its popularity it remains in a certain sense an undiscovered work. The aim with this edition is not only to provide a critical score of the work, but at the same time to indicate what questions of detail should form the focus of future research. The critical analysis offered here thus offers discussion of the relationship between the one-movement Fantasia version and the three-movement concerto version, the problem of the transition from the second to the third movement and a series of questions relating to the version completed in 1853. A booklet of facsimiles completes the volume.
SKU: SA.40055
ISBN 9781608740055. 7.44 x 9.69 inches.
Liszt's second concerto had its beginnings in 1839 or 1840 and was subjected to a number of revisions until 1861. The first performance, on January 7, 1857, featured the composer conducting the Weimar Staatskappelle and his student Hans von Bronsart as soloist. This new score is a digitally enhanced reprint of the one first issued by Breitkopf und Hartel in 1914 as part of the Liszt complete works.
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