SKU: BT.DHP-1196148-404
ISBN 9789043157230. English-German-French-Dutch.
Since the revival of Klezmer in the 1990s, the style has enjoyed a continued popularity. Hey Klezmorim! presents 16 new pieces of music from the pen of Joachim Johow, inspired by traditional Yiddish music. This edition is especially aimed at violinists who wish to be accompanied on the piano. It therefore also contains easy-to-play piano accompaniment parts while play-along recordings are available online. Additional demo recordings that encourage you to develop your own personal Klezmer playing style should help you to enjoy this unmistakable and diverse music!Sinds de revival van klezmer in de jaren negentig is deze muziekstijl onophoudelijk populair gebleven. Hey Klezmorim! presenteert zestien fraaie nieuwe muziekstukken van de hand van Joachim Johow, die zich heeft laten inspireren door traditionele Jiddische muziek. Deze uitgave is bedoeld voor violisten die graag op de piano worden begeleid. Ze bevat eenvoudig speelbare pianobegeleidingen, en online zijn ook meespeelopnamen beschikbaar, plus demo-opnamen die de muzikant een idee geven van de samenklank én hem of haar aanmoedigen een eigen klezmerspeelstijl te ontwikkelen. Een bundel vol afwisselende muziek die veel speelvreugde zal opleveren!Seit seinem Revival in den 90er-Jahren des vergangenen Jahrhunderts erfreut sich der Klezmer-Musikstil einer ungebrochenen Beliebtheit. Hey Klezmorim! präsentiert 16 neue Musikstücke aus der Feder von Joachim Johow, die an die traditionelle jiddische Musik anknüpfen. Die Ausgabe wendet sich besonders an Geiger, die sich gerne am Klavier begleiten lassen möchten, und enthält daher gut spielbare Klavierbegleitungen als Notentext sowie in online verfügbaren Play-along-Aufnahmen. Zusätzliche Demo-Aufnahmen sollen dazu anregen, einen eigenen, persönlichen Klezmer-Spielstil zu entwickeln. Viel Freude mit dieser unverwechselbaren, abwechslungsreichen Musik!La musique klezmer jouit d’une popularité sans faille depuis son renouveau dans les années 90. Hey Klezmorim! présente 16 nouveaux morceaux de la plume de Joachim Johow, inspirés de la musique traditionnelle yiddish. Cette édition s’adresse tout particulièrement aux violonistes désireux de jouer avec un accompagnement de piano. De ce fait, elle comprend des accompagnements de piano faciles jouer, la fois sous forme de partitions et sous forme d’enregistrements en ligne. D’autres enregistrements de démonstration sont également disponibles sur le site, afin d’encourager les musiciens développer leur style personnel de klezmer. Nous vous souhaitons beaucoup de plaisir jouer cette musique aux accents variés, unique en son genre !
SKU: BR.EB-9413
ISBN 9790004188873. 9 x 12 inches.
For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.
SKU: YM.GTW01100445
ISBN 9784636103052. 8.5 x 12 inches.
Here, you can enjoy the beautiful Japanese classic tunes expressing the changing seasonal sentiments in this book. It features 25 songs, mainly nursery rhymes, children's songs, and shoka songs, and it comes with a karaoke CD of piano accompaniment. Please enjoy these wonderful arrangements, which are perfect for recitals and concerts.
SKU: HL.49017964
ISBN 9790001152938. 9.25x12.0x0.325 inches. German.
Es war 1996, als mir Christoph Poppen, der damalige Leiter des Munchener Kammerorchesters, von einem kuriosen Konzert in Munsing (Ammerland) erzahlte: wahrend eines seiner Konzerte mit dem Orchester in der dortigen Kirche gab es, fur alle hor- und sichtbar, eines der grossten Unwetter, das die Region je gesehen hatte. Dabei schlug der Blitz ein in eine Art Wahrzeichen des Ortes, eine mehrere Jahrhunderte alte Linde. Unter den Zuhorern damals: die dort lebende Dichterin und Schriftstellerin Diana Kempff. Sie war unmittelbar erschuttert vom Tod der Linde und schrieb unter diesem Eindruck einige Gedichte. Christoph Poppen wiederum war - wie in vielen anderen Zusammenhangen auch - genialer Vermittler und stellte alsbald den Kontakt zu mir her. Die Idee: am Ort des Geschehens, in der Munsinger Kirche, solle ein Jahr spater die Urauffuhrung einer Art Requiem fur diesen Baum, der so vieles 'gesehen' hatte, erklingen. Im Rahmen der Holzhauser Musiktagen mit den Texten von Diana Kempff und meiner (noch zu schreibenden) Musik.Es gab bald eine wunderbare, sehr intensive Begegnung von Diana Kempff und mir, bei der sie etwas fur Schriftsteller nicht gerade Typisches tat: sie stellte mir frei, aus den vorliegenden Gedichten nach Belieben lediglich Teile, sogar nur Zeilenfragmente zu verwenden und auch die Reihenfolge nach meinen Bedurfnissen anzuordnen und zu gestalten. Sie begriff sofort (und wunschte!), dass durch die Musik ohnehin etwas Drittes, etwas ganz Anderes entstehen wurde. Die Tatsache, dass wir Monate spater eine sichtlich bewegte Diana Kempff auf die Buhne holen durfte, freute uns alle besonders. Ihre Lyrik ist Ausdruck einer offenkundig zutiefst gequalten Seele und kommt uns oft wunderlich-versponnen entgegen. Einer zerbrechlichen Zartheit steht eine bisweilen fast brutale Harte unversohnlich gegenuber. Das Schubert'sche 'Fremd bin ich eingezogen' gilt fur sie in besonderer Weise und aussert sich in ihren Versen in einer Nahe zu allem Fremden (trotz des gleichzeitigen manischen Umkreisens des Eigenen und der eigenen Erinnerung), Abseitigen und auch (bei aller gleichzeitigen Skepsis) Ubernaturlichen. Dieses geisterhaft-spukige Element versuchte ich durch meine Textauswahl und mit musikalischen Mitteln in diesen nun 'Sieben Abgesangen' zu verdeutlichen. Das erste Stuck ist eine karge Studie uber das Verrinnen der Zeit, das Nichts; das Zweite beschwort den Regen (den heilbringenden) herbei, der dann spater - wenngleich mit entsetzlicher Wirkung - auch kommt. Den dritten Abgesang habe ich 'Tanz der toten Seelen' betitelt; es ist ein Zwiefacher, der jedoch durch seine duster-halbseidene 'Wiener' Chromatik alles Liebenswurdig-Oberbayerische langst verloren hat. Das klanglich vielleicht avancierteste und dichteste Stuck ist der vierte Abgesang, der ganz aus der Perspektive der Linde selbst erzahlt wird. Der funfte Abgesang zu den Worten 'Und wenn der Tod so kommen mag' ist im Stile einer traurigen Volksweise bewusst schlicht gehalten. Wahrend der sechste Satz in seinem expressionistischen Gestus nicht ungefahrlich das Monodram streift, ist es schliesslich die Seele (die ausgehauchte, die weiterexistierende?), die wortlich den letzten Abgesang uber die Baume und die Seelen pragt. Diana Kempffs Gedichte, der Enthusiasmus Christoph Poppens, die phantastischen Urauffuhrungs-Interpreten, allen voran die Sangerin Juliane Banse, haben mich zur Komposition dieser 'Sieben Abgesange auf eine tote Linde' angeregt.Die 'Sieben Abgesange' sind nunmehr auch eine Erinnerung an die erst jungst verstorbene Diana Kempff. Jorg Widmann,im Juni 2008.
SKU: CF.MXE272
ISBN 9781491159064. UPC: 680160917600. 9 x 12 inches.
Odd Moments was written for the Da Capo Chamber Players in 1999 in celebration of George Perleas 85th birthday. The piece was revised in 2009, resulting in a version that is a few minutes shorter. The title of the piece obliquely refers to Perleas late piece Critical Moments, and also to an aspect of Perleas system of 12-tone tonality, which distinguishes between odd and even harmonies. The piece is in six short sections, each with its own tempo. A slight pause should be taken before each section. A A A The score is in C. Accidentals apply only within the measure, and cautionary accidentals have been added, as needed. A A.Odd Moments was written for the Da Capo Chamber Players in 1999 in celebration of George Perle's 85th birthday. The piece was revised in 2009, resulting in a version that is a few minutes shorter. The title of the piece obliquely refers to Perle's late piece Critical Moments, and also to an aspect of Perle's system of 12-tone tonality, which distinguishes between odd and even harmonies. The piece is in six short sections, each with its own tempo. A slight pause should be taken before each section. The score is in C. Accidentals apply only within the measure, and cautionary accidentals have been added, as needed.Odd Moments was written for the Da Capo Chamber Players in 1999 in celebration of George Perle’s 85th birthday. The piece was revised in 2009, resulting in a version that is a few minutes shorter. The title of the piece obliquely refers to Perle’s late piece Critical Moments, and also to an aspect of Perle’s system of 12-tone tonality, which distinguishes between odd and even harmonies.The piece is in six short sections, each with its own tempo. A slight pause should be taken before each section.    The score is in C. Accidentals apply only within the measure, and cautionary accidentals have been added, as needed.   .
SKU: HL.14030977
ISBN 9788759862148.
Work for Violin and Piano dating from 1999. The composer writes: 'Sieben Sehnsuchte was written in 1999 for David Alberman and Rolf Hind. As the title suggests, it is in seven movements - each more insanely difficult and bothersome than the other. All sorts of possible and impossible playing techniques have been used, and the performers have to both whistle and sing. However, it is not the intention that the slightly more unusual sound should be heard as effects. Everything is supposed to fuse together into something that is in itself a little opera - a 'chamber piece'. It was written in a period when I was waiting impatiently for the libretto for Under the Sky, and I see it as a meeting (or seven meetings) between two people - two instruments - longing for each other; longing to merge together. The piece is a kind of sister work to Roses are Falling.'.
SKU: HL.48025296
UPC: 196288174325.
“Being Russian born I have a strong connection to the ballet scores of Tchaikovsky, Prokofiev and Stravinsky, and as a result in theWild Swans, more than in any other work of mine, I allowed myself the freedom to roam through 200 years of musical genres, ranging from Hungarian Operetta through folk music and even including the influences of jazz and popular music,†says Elena Kats-Chernin. The full-length work, which premiered in Sydney in 2003, was written for choreographer Meryl Tankard after the two artists had already worked together for the opening ceremony of the 2000 Olympic Games, and became one of the composer's greatest successes. Many excerpts in various arrangements have a concert life of their own today - including the world-renowned Eliza Aria. Arranged by the composer in 2004 for violin and piano after the original orchestral version, the half-hour suite comprises ten characteristic movements: Green Leaf Prelude, Eliza Aria, Brothers, Wicked Witch (piano solo), Magic Spell Tango, Glow Worms, Darkness of the Forest, Eliza and the Prince, Mute Princess, Transformation.
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
SKU: M7.VHR-3435
ISBN 9783864341014.
Die kleinen Duos erzählen von Rittern und Seeräubern, malen Landschaftsbilder, lassen Drachen steigen und entführen ins Reich der Tiere. Die Ausgabe richtet sich gleichermaßen an Geigen- wie an Klavierschüler/-innen mit Freude am gemeinsamen Musizieren. 1. und 2. Griffart Die Ausgabe einthält einen 20-seitigen Einleger für Violine.
SKU: HL.49018055
ISBN 9790001149044. UPC: 884088556327. 9.0x12.0x0.313 inches.
Eotvos wrote this piece in memory of the seven astronauts who lost their lives in the Space Shuttle Columbia tragedy in 2003. The number 7 determines the musical, rhythmic and formal structure of the work: 49 musicians are divided into seven groups, and as well as the solo violin there are six further violins arranged correspondingly around the hall; and the solo violin itself portrays each of the astronauts and their different origin, from America via Israel to India, in folkloristically tinged cadenzas.'The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfilment of a fundamental dream of mankind.' (Peter Eotvos)3 (1. auch Altfl., 2./3. auch Picc.) * 3 * 3 * Bassklar. * Altsax. (auch Baritonsax.) * 3 - 2 * 2 * 2 * 1 - S. (I: Crot. * Gongs * Rohren [Amboss] * Rohrengl. * Nietenbeck. * chin. Beck. * Dome-Beck. * Tamt. * Trgl. * Sprungfeder; II: Vibr. * Gongs * Glsp. * Rohrengl. * Beck. * Dome-Beck. * Tamt. * Crot. * Sistrum * Sprungfeder; III: Vibr. * Gongs * Glsp. * Rohrengl. * Beck. * Dome-Beck. * Crot. * Rohren [Amboss] * Glsp. * Sprungfeder; IV: Crot. * Gongs * Rohrengl. * Nietenbeck. * chin. Beck. * Dome-Beck. * Tamt. * Sistrum * Rohren [Amboss] * Trgl. * Sprungfeder) (4 Spieler) - E-Git. * Hfe. * Keyboard-Sampler* - Str. (6 * 0 * 5 * 5 * 4)* Fur alle technischen Anweisungen wenden Sie sich bitte an www.eotvospeter.com / For technical instructions please contact www.eotvospeter.com.
SKU: HL.49046912
ISBN 9783795726409. UPC: 196288082118. 9.0x12.0x0.223 inches.
Rousing Klezmer pieces newly composed! Inspired by old klezmer melodies, Joachim Johow has written 16 new tunes for violin, reenacting scenes from life in a Jewish town, such as 'Am Morgen in der Gasse' [On the Street in the Morning], 'Auf dem Jahrmarkt' [At the Fair], 'Schlittenfahrt' [Sleigh Ride], 'Tanz der Grosseltern' [Dance of the Grandparents], 'Am Abend' [In the Evening]. With notated piano accompaniment and additional harmonic symbols as well as an additional bass part (for download) which allow for a variety of instrumentations. The audio MP3 pack contains both full and playback versions.
SKU: BT.EMBZ2524
English-German-Hungarian.
An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók s favorite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing. Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches.
SKU: HL.49045822
ISBN 9781540024749. UPC: 888680737764. 9.25x12.0x0.29 inches.
The Kreutzer Sonata was originally dedicated not to Rudolphe Kreutzer (who never performed it) but to George Bridgetower, a famed 18th-century Afro-European concert violinist. In an early draft, Beethoven jokingly labeled the piece in starkly racialized terms: Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.Beethoven and Bridgetower performed the premiere, which was by all accounts a success, and even featuring some improvised embellishment by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower's insult of a female acquaintance; the composer then revoked the original dedication, adding Kreutzer's name instead. The work gained acclaim, while Bridgetower's career languished; he eventually died in poverty.Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove's book, Sonata Mulattica. From our 21st-century vantage, considering Bridgetower's unique circumstance, we can only see him as an ambiguous figure who, in embodying difference, provoked inspiration, fantasy, desire, anger and, finally, erasure.My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting fragments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny Koh and Shai Wosner for involving me in their beautiful, virtuosic music-making.
SKU: HL.49008004
ISBN 9790001112383. 9.0x12.0x0.15 inches.
This collection is more than just a continuation of volume 1 (4 Lieder ohne Worte = AVV 131), pieces from both volumes can be mixed and played in different running order. The intermezzi are in irregular metres with strongly accented rhythms. The remaining items are mood pieces with violin and piano part closely interwoven.
SKU: FL.FX071152
A romantic composition dedicated to my Director Jacques Andrieu and to his wife Daniele (pianist). The seventh intervals (range rarely used), major, minor or diminished allowed me to create a tender and touching melody.
SKU: BR.EB-9250
World premiere: Toronto, November 17, 2016Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez)
ISBN 9790004185506. 10 x 12.5 inches.
Whereas Nono considered the world to be only fragmentarily analyzable, so-called consumer capitalism increasingly intrudes upon ego structures, by fragmenting them to the point of: assumed insufficiency, i.e., was consumption a form of infiltration?, or: in television you can see models licking face cream because it's so rich etc. (retranslated), as Meredith Haaf cited in her book review (SZ / 23.05.2016 Alexandra Kleeman: You Too Can Have A Body Like Mine) , and to the point of similar perfection-senselessness. Music doesn't do things by halves. Even when events or notes are puffed up, they can retain elegance and significance. Other ego amplitudes are of violinistic nature or are favourite memories - Paganini's Capricci, Stockhausen's Studie I, Steve Reich, the tone C and similar things. The craziest egos are quantums, because at no time are they identical with themselves. They can entangle and superpose, are nonlocal, etc. Although the sound character in this Duo is fairly open, I believe I succeeded in making probability waves of harmonic stopovers perceptible. This means hearing without analyzing and without constantly measuring. Nonlocality - without messenger particles - means no harmonic steps, but with the capacity to interact. (Nicolaus A. Huber, May 2016)World premiere: Toronto, November 17, 2016 Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez).
SKU: BT.DHP-1175827-401
ISBN 9789043153010. English-German-French-Dutch.
The seaside, a blue lagoon under the sun… Only some birds disrupt tranquillity, but then leave by the evening. An idyllic vision illustrated by the sound of young violinists. Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote Sea Blue for violinists with an ability of approximately 3 4 years’ experience. He paid special attention to an easy-to-follow, attractive musical style. Sea Blue is an ideal performance or competition work for young musicians.De kustlijn, een blauwe lagune onder de zon… Enkel het gefluit van vogels onderbreekt deze stilte, maar verdwijnt weer tegen de avond. Een idyllische gedachte ge llusteerd door de klank van de jonge violist. De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef Sea Blue voor violisten die ongeveer drie tot vier jaar les hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is Sea Blue een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.Am Meer, eine blaue Lagune in der Sonne ... Nur ein paar Vögel stören diese friedliche Stille, aber sie brechen wieder auf, als es Abend wird. Ein idyllisches Bild, das durch die Klänge der jungen Geiger veranschaulicht wird. Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen, sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb Sea Blue für Geiger mit ungefähr 3 4 Jahren Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich Sea Blue ideal als Vortrags- und Wettbewerbsstück fürjunge Musiker. Un bord de mer, un lagon bleu sous le soleil … Seuls quelques oiseaux viennent troubler cette quiétude, mais repartent le soir venu. Un tableau idyllique illustré par le son de jeunes violonistes. Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique - son catalogue d’œuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Sea Blue pour violonistes ayant environ 3 4 années de pratique, dans un style musical accessible et coloré. De ce fait, Sea Blue est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: BT.CAMCM235
Creative Variations provides musicians with the opportunity to explore and develop their own musical ideas in the preparation and performance of contemporary compositions. Each piece offers a different approach to'variation on a theme' either through demonstration or by composition or improvisation. Even fully notated sections are open to musical interpretation and musicians should feel free to add their own dynamics, phrasing andarticulations.Book and CD.
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