SKU: JK.02014
UPC: 093285020146.
This late-intermediate piano solo by Vanja Watkins will make a powerful addition to any church meeting or sacred occasion. Use this arrangement to honor the life of Joseph Smith (martyred on June 27th, 1844), celebrate pioneer day (July 24th), or commemorate the events of the ongoing restoration.Arranger: Vanja WatkinsComposer: Scottish Folk SongDifficulty: Late IntermediatePerformance Time: 3:30References: Doctrine and Covenants 135, 2 Nephi 3:14-15.
SKU: FP.FBS02
ISBN 9790570500192.
Sarah Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.All this experience has come together in the creation of this first published album of piano pieces, inspired by the sounds heard at night from the woodland just beyond Sarah’s childhood home.Suitable for players of around grade 4-5 standard, her evocative sound pieces begin at the tranquillity of dusk and end with the exuberant dawn chorus.The composer writes:'I grew up with woods behind my house, and the nocturnal noises and images that I remember were the inspiration for these eight short sound pictures on the theme of night. The music moves first from the tranquility of dusk and evening mists, to the emerging starlight of twilight. As night falls it takes on on a darker quality with shadows and dreams disturbing peace and calm.The night birds and bats swoop and flit past as they seek their prey, but gradually dawn approaches and peaceful sleep is restored. The morning is heralded in the joyful exuberance of the dawn chorus.'.
SKU: SA.41328
ISBN 9781608741328. 9.5 x 12.5 inches.
Completed in 1914, this suite (whose title translates as Nights of Late Summer) is one of the Swedish masters last and greatest piano works, with a wistful and bittersweet quality that is quite unlike anything else. Originally to include seven sections, Stenhammar cut out two for the final version, which is the one offered here - in a handsome digitally-restored reissue of the edition first published in 1916 by Wilhelm Hansen of Copenhagen. In contrast to 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. The score is beautifully printed on large size (9 x 12) off-white stock with a quality cover, all saddle-stitched in the traditional sheet music binding. 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: SA.41342
ISBN 9781608741342. 9.5 x 12.5 inches.
Stenhammar's 1895 set of three fantasies are among the finest of the Swedish composer's early-period works. They are fairly Brahms-like in their musical language, but nevertheless bear the individual stamp of this composer, whose music stands as a unique voice in a Scandinavian world dominated by figures such as Grieg and Sibelius. This new score is a digitally-restored reissue of the one first issued around 1900 by Nordisk Musikforlag of Copenhagen. 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. The score is beautifully printed on large size (9 x 12) off-white stock with a quality cover, all saddle-stitched in the traditional sheet music binding. 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: BT.EMBZ20039
English-Hungarian.
Bartók composed his first pedagogical collection For Children between 1908 and 1911. The first edition was issued between 1909 and 1911 in four volumes, comprising two of Hungarian and two of Slovak folk song arrangements. After moving to America, Bartók considered it important to produce new editions of his earlier works. Thus in autumn 1943, together with his new publisher Boosey & Hawkes, he planned a new edition of For Children, and to this end completely revised the collection. Although Bartók had already completed his revision by the end of 1943, the revised edition was only issued in 1946. The pieces were published without titles in the first edition, but the folksong lyrics were included. These lyrics, deemed unnecessary for the non-Hungarian audiences, were not taken over to the American revised edition however, a significant number of pieces were provided with a title conveying their mood and their background in folk music and folk life. The American edition omitted the folk songs lyrics that seemed unnecessary to the audience there, but the titles of the first edition were replaced with English titles (some with the same meaning and some with modified interpretations) conveying each song's mood and background in folk music and folk life.The present edition - which contains the same scores as those in Volume 37 of the Béla Bartók Complete Critical Edition (Z. 15037) - is based on the revised version that the composer made in 1943 for the new edition, to which he also referred to as ''corrected''. We have added Hungarian translations to the English titles but we have also restored the original collection of folk song texts with parallel English translations. The pieces discarded from the revised version, as well as early versions that are significantly different from the revised version, are included in the Appendix. This publication contains a preface and editorial comments in both Hungarian and English.
SKU: FA.MFCD007PN
8.27 x 11.69 inches.
Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.Unfortunately, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!
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