| Maurice Ravel : Sonatine
Piano solo [Sheet music] - Advanced Alfred Publishing
By Maurice Ravel. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. L...(+)
By Maurice Ravel. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. Level: Advanced (grade 6 ). 24 pages. Published by Alfred Publishing.
(1)$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Windows Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418140 Composed by James Matheson. Perform...(+)
Chamber Music Piano SKU: PR.110418140 Composed by James Matheson. Performance Score. 24 pages. Duration 25 minutes. Theodore Presser Company #110-41814. Published by Theodore Presser Company (PR.110418140). ISBN 9781491129432. UPC: 680160640379. Matheson’s five-movement work is a setting of stained glass windows created by Marc Chagall and Henri Matisse for a rustic country church adjoining the Rockefeller estate near Sleepy Hollow on the Hudson River. Matheson’s suite draws from four Chagall windows: 1. Jeremiah, 2. Isaiah, 3. Crucifixion, 4. The Good Samaritan, and culminates with Matisse’s 5. The Rose. In 1954, the Rockefeller family asked Henri Matisse to create a stained glass Rose Window for the Union Church of Pocantico Hills, New York as a memorial to Abby Aldrich Rockefeller, the great art patroness and a founder of the Museum of Modern Art. It was to be the artist’s last work. A few years later, Mrs. Rockefeller’s youngest son, David, acting on behalf of the family, commissioned Marc Chagall to create an entire series of stained glass windows to fill the rest of the small church resulting in the large, majestic “Good Samaritan†window and eight sublime smaller windows, each depicting a biblical figure or scene. In 2015, Premiere Commission commissioned James Matheson to compose WINDOWS to celebrate the centennial of the Union Church of Pocantico Hills and the 100th birthday of David Rockefeller. This deeply touching, epic cycle distills into music the intimate, often heart-rending, visions of Chagall as well as the powerful simplicity of Matisse’s modern design which utilizes the striking collage forms he employed in his final years. Matheson’s work also reflects the influence of Olivier Messiaen’s own theologically-inspired music. Like the French master, Matheson utilizes large-scale blocks of harmonies with organ-like sonorities to support and shift the music’s kaleidoscopic planes of color and set into relief the work’s piercing motifs and intricate patterns. The universal themes of love and sacrifice (“Jeremiah†and “Isaiahâ€), loss and altruism (“Crucifixion†and “The Good Samaritanâ€) and the jubilant celebration of life and nature (“The Roseâ€) are memorably portrayed in this poignant tribute to the human spirit.—Bruce Levingston. $20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irreverences Piano solo [Score] Billaudot
Piano SKU: PR.510076960 Pour Piano. Composed by Stephane Delplace....(+)
Piano SKU: PR.510076960 Pour Piano. Composed by Stephane Delplace. Full score. With Standard notation. 28 pages. Duration 25 minutes, 37 seconds. Gerard Billaudot Editeur #510-07696. Published by Gerard Billaudot Editeur (PR.510076960). 1. Choral: An improbably superimposing of Beethoven and Brahms. At the end of the first performance of the latter's 1st Symphony, someone asked the composer: Don't you find that your main theme remin ds one of the Ode to Joy? To which he retorted: Even an idiot would have noticed it! 2. Fugue: in the last exposition, the subject of Fugue I from volume 1 of Bach's Well-Tempered Keyboard is super imposed on the theme from Mozart's so-called easy sonata. 3. Passion: In his Violin Concerto, Mendelssohn, to whom we owe the rediscovery of Bach's Passions, seems to have borrowed a theme from a lost Passion. 4. Recitativo: Tribute to Franck's tribute to Bach in his Sonata for violin and piano. 5. Invention: A private revenge, after a bitter failure. Debussy's Toccata was on the compulsory list for the Conservatory piano class entrance exam. 6. Arpeggione: In which the listener realizes the similarity in the introduction to Schubert's Unfinished Symphony and Arpeggione Sonata. 7. Sarabande: The most iconoclastic, for Bach's 5th Cello Suite is already suffused with harmony. There might be an evocatioin of a Brahms-like overarching structure, though... 8. Variation: The slowest variation ever written on Paganini's 24th Caprice. 9. Scene: Schumann's Reverie as a Prelude. 10. Finale: In order to capture the elusive harmony of the Finale of Chopin's Sonate Funebre. 11. Fugue on Au clair de la lune: Our greatest nursery rhymes, fugue fitted and choralized. 12. Fugue de Noel (Christmas fugue): Quite appropriate. 13. Fugue on J'ai du bon tabac: Prohibited counterpoint. 14. Fugue on La Marseillaise: Franco-German reconciliation. 15. Pedal - Exercitium: Realization and conclusion of Bach's organ pedal exercies. $29.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Weber Complete Edition 7/1 Piano solo Schott
Piano (P+KRB) SKU: HL.49042462 No. 1-4. Composed by Carl Maria von...(+)
Piano (P+KRB) SKU: HL.49042462 No. 1-4. Composed by Carl Maria von Weber. Edited by Markus Bandur. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. Op. 24+39+49+70. 372 pages. Schott Music #WGA1071. Published by Schott Music (HL.49042462). ISBN 9783795794637. German - English. Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. $354.00 - See more - Buy online | | |
| Toccate, Canzoni, Ricercari. Opere complete. Vol.I Piano solo Suvini Zerboni
Piano SKU: BT.ESZ-01490700 Edizione critica in due volumi. By Paul...(+)
Piano SKU: BT.ESZ-01490700 Edizione critica in due volumi. By Paul Kenyon. By Ercole Pasquini. Set of Books. Composed 2016. Edizioni Suvini Zerboni #ESZ 01490700. Published by Edizioni Suvini Zerboni (BT.ESZ-01490700). Italian-English. Ercole Pasquini (1550 ca-ante 1620), working for many years in Ferrara, then Frescobaldi’s predecessor as organist of the Cappella Giulia, leaves a considerable corpus of keyboard music that identify him as a link between Frescobaldi and Naples. It is half a century since the first critical edition of Ercole Pasquinis keyboard music was published (CEKM, vol. 12). This new edition (in two volumes) appears in the light of subsequent scholarship. It offers new solutions for some troublesome passages. It includes a number of pieces that were not included in the previous edition, but which do seem to have been attributed to Pasquini, as well as unattributed pieces which maywell have been by him. It also takes account of a source (ms. Naples 48, dated ca.1600) which has come to light in the intervening years. This manuscript includes a copy of a Canzona by Pasquini that is older and generally superior to the other surviving copies of this piece. The preface contains detailed discussion of the composers biography, the provenance of the sources, and the performance implications of the notation. Both preface and commentary are in English and Italian.
Attivo per molti anni in Ferrara, poi predecessore di Frescobaldi come organista della Cappella Giulia, Ercole Pasquini (1550 ca-ante 1620) lascia un consistente corpus di musica per tastiera che si pone come punto di raccordo tra Frescobaldi el’ambiente napoletano.Dopo mezzo secolo dalla pubblicazione della prima edizione critica della sua musica per tastiera (CEKM, vol. 12), il volume che qui si presenta (primo di due) appare alla luce degli studi più recenti e offre nuove soluzioni per alcuni passaggiproblematici. Comprende altresì una serie di pezzi non inclusi nella precedente edizioni, ma ascritti a Pasquini, così come pezzi non attribuiti, ma probabilmente da lui composti. Si tiene conto anche di una fonte (ms. Napoli 48, databile ca 1600),venuta alla luce in anni recenti, particolarmente autorevole nella trasmissione di una Canzona. La prefazione contiene la presentazione dettagliata della biografia del compositore, la provenienza delle fonti e le questioni notazionali in rapporto all’esecuzione. Prefazione e commento sono in italiano e in inglese. $93.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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