SKU: HL.49045889
9.0x12.0x0.33 inches.
As far back as I can remember, I have always been fascinated with fairy tales: with their archetypal characters and set phrases like'Once upon a time...'and'...they all lived happily ever after'. Fairy tales were however also a source of unrest for me as a seismograph of mankinds underlying primal fears and desires. So as a performer and composer I have always felt that Robert Schumann's Marchenerzahlungen [Fairy Tales] (scored for the same instrumentation as my own composition) was a disjointed, complex contemporary work - despite the innocence and naivety of its initial appearance. I therefore do not intend my own Es war einmal (Once upon a time...)to be a mere sentimental, nostalgic flight into the distant past, but as a naive and fantastical alternative concept to our genuine world with all its upheavals. Jorg Widmann.
SKU: HL.48024311
ISBN 9780851629582. 9.0x12.0x0.165 inches.
New edition of this charming suite by the British composer Richard Walthew (1872-1951), originally published in 1900. The work was frequently performed by Lionel Tertis over his long career; his fingerings and bowings are of great interest to students and scholars, so these are included for reference in the viola cue stave in the piano score; the viola part itself is left 'clean' for performers to make their own decisions In 1943 Tertis premiered A Mosaic in Ten Pieces in the version for viola and orchestra in a concert broadcast by the BBC. The performance was reviewed in the Musical Times: “It is the work of a happy craftsman, genial, jesting (so few composers joke now). In a slow movement Walthew is at his serene best. Brahms would have enjoyed the Valsette, and Elgar beamed upon other parts. Tertis's phrasing is the best lesson I can imagine for any young musician...”.
SKU: HL.48024203
ISBN 9781784542689. 9.0x12.0x0.127 inches.
The composer states: Acequia Madre demonstrates an approach which was somewhat new to the style of my musical expression at the time of its composition [2012]: structuring a work with the focus on its melodic aspects. I drew inspiration from other creative artists through one of my 'rituals': I surrounded myself with the scores of composers who, for one reason or another, were on my mind at the time, like Iannis Xenakis, Alban Berg's 'Four Pieces for Clarinet and Piano,' and 'Contrasts for violin, clarinet and piano' by Bela Bartok, plus Schubert's haunting final 'String Quartet No. 15.' Conquering technical difficulties is something I find particularly rewarding when playing acoustic instruments: fully aware that today's electronics can triumph over a composer's most demanding technical challenges, I love the idea of performers encountering their instruments with virtuosity ... doing something that seems to defy physical boundaries..
SKU: M7.DOHR-88836
ISBN 9790202098363.
There comes a time in life when your parents have passed on. What we are left with is the memories of their love, guidance, support, and the happy times together. Last August when my mum sadly passed away, I wrote an Elegy as part of my grieving. However, as a family we had happy times together and it seemed only right to compose a work which would celebrate this. So, I added a first and last movement to create a short concertino. The movements are: Prelude: Peter John Connell: The Cheeky Chap Elegy: Mavis June Connell (Time To Remember) Rondo: Family Fun (Adrian Connell) Performance note The work can also be performed with accompaniment of string orchestra and harp using the set of parts for the version for clarinet and orchestra (E.D. 88833).
SKU: HL.48188752
UPC: 888680884000. 9.0x12.0x0.111 inches.
“Second of the series of ?Four Faces? by Darius Milhaud, II. The Wisconsonian is a short piece for Alto and Piano. Easy to play, it requires some technique of the instrument and some theory knowledge to read in different keys. The book includes the parts for Viola and Piano and for Viola only. The music is cheerful and quite fast, with the Viola part playing mainly semisquavers alternating up and down every two bars. It is supposed to represent an American girl coming from Wisconsin. She is part of the four faces with: I. The Californian girl, II. The Wisconsonian and IV. The Parisian girl. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of the Les Six and was strongly influenced by Jazz. His opus list ended at 443.”.
SKU: BT.ALHE31120
English.
First of the series of _x001A_Quatre Visages_x001A_ by Darius Milhaud, I. La californienne is a short piece for Viola and Piano. With some difficulties, it requires some intermediate technique of the instrument and some theory knowledge toread in different keys. The book includes the score for Viola and Piano and the part for Viola only. The music has moderate tempo and is quite expressive. It is supposed to represent an American girl from California. She is partof the four faces with: II. The Wisconsonian, III. La Bruxelloise and IV. La Parisienne. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of Les Six and was strongly influenced by Jazz.His opus list ended at 443.
SKU: BT.ALHE33327
French.
Second of the series of _x001A_Four Faces_x001A_ by Darius Milhaud, II. The Wisconsonian is a short piece for Alto and Piano. Easy to play, it requires some technique of the instrument and some theory knowledge to read in different keys. Thebook includes the parts for Viola and Piano and for Viola only. The music is cheerful and quite fast, with the Viola part playing mainly semisquavers alternating up and down every two bars. It is supposed to represent anAmerican girl coming from Wisconsin. She is part of the four faces with: I. The Californian girl, II. The Wisconsonian and IV. The Parisian girl. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He wasalso part of the Les Six and was strongly influenced by Jazz. His opus list ended at 443.
SKU: BT.YE0009
Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino ? di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.
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