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: HL.48180733
UPC: 888680831776. 9.0x12.25x0.06 inches.
Having won many prizes at the Paris Conservatoire during the 1920s-1930s, Eugene Bozza went on to conduct the orchestra of the Opera-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline, Bozza's compositions were well-received by audiences, 10 Easy Pieces for Violin and Piano being no exception. This collection of Bozza pieces is suitable for beginner violinists. The third piece, Minuet Pages, is chirpy and graceful, displaying the typical features of a minuet. As music educationalist, Paul Griffiths has written of Bozza's compositions, his works reveal melodic fluency, elegance of structure and a consistently sensitive concern of instrumental capabilities..
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: HL.48186456
UPC: 888680828677. 0.022 inches.
Composer and conductor Eugene Bozza (1905-1991) was a pupil of Henri Busser and Henri Rabaud at the Conservatoire de Paris, and received the first Prix de Rome in 1934. It was during his stay the Villa Medici that he wrote his Aria Pour Saxophone Alto Et Piano ? an adaptation of the third movement of Johan Sebastian Bach?s Organ Pastorale in F Major BWV 590, which was to tour the world. This nostalgia-imbued melody, which expands over a regular meter, has, in turn, been the subject of numerous transcriptions, first for clarinet, then for Violin (or Flute) and Piano. Editions Leduc have chosen to republish this last version, with the added bonus of an audio version that should be of valuable assistance to all musicians!.
SKU: HL.48187463
UPC: 840126901894. 9.0x12.0 inches.
Eugene Bozza: Concerto (Violin & Piano).
SKU: HL.51481164
UPC: 196288215875. 9.25x12.0x0.7 inches.
Grieg's violin sonatas are a firm staple of violin repertoire and are popular with amateurs and professionals alike. G. Henle Publishers takes this into account with a practical single-volume edition of the three sonatas. Thus, you are simply spoilt for choice as to whether you prefer the youthful zest of the first, the Nordic-folkloristic charm of the second or the mature drama of the third sonata. The opulent volume is rounded off by a small piece that is ideal as an encore: a march from Grieg's incidental music to Sigurd Jorsalfar, which the composer himself arranged for violin and piano. Therefore, this Henle Urtext edition actually offers GriegÂs complete oeuvre for this instrumentation â a âmust-haveâ for all fans of the great Nordic melodist.
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SKU: HL.51481275
UPC: 888680991661. 9.25x12.25x0.157 inches.
“Memory of a dear place†is the title given to this collection of three enchanting pieces for violin and piano. The “place†in question was the country estate of Brailov that belonged to Tchaikovsky's patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky's matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d'un lieu cher was only added after Tchaikovsky's death.
SKU: FG.55011-785-3
ISBN 9790550117853.
Fennica Gehrman the music publisher pays tribute to its composers with this 20th-anniversary collection of commissions for violin and piano. Stringendo - Contemporary works for violin and piano (2022) is a collection of ten pieces, which vary greatly as regards their genesis. That by Harri Wessman is playful and exhilarating; Mikko Heiniö wrote his on Women's Day, while the duets by Kalevi Aho and Matthew Whittall are tributes to the late Jaakko Kuusisto. Einojuhani Rautavaara is also represented, in an arrangement for violin and piano of his plaintive, melodic Sydämeni laulu (The Song of my Heart). The title of Lotta Wennäkoski's work, Vestige, is a fitting symbol for the whole collection.Short introductions to the pieces by their composers are included in the collection in English, Finnish, and Swedish.ContentsKalevi Aho (b. 1949): Le Tombeau de J. K.Einojuhani Rautavaara (1928-2016): Sydämeni laulu - Song of my heartMikko Heiniö (b.1948): Naisten päivä - Women's DayJyrki Linjama (b. 1962): De Profundis ILotta Wennäkoski (b. 1970): VestigeMatthew Whittall (b.1975): Waiting to hearOlli Kortekangas (b. 1955): CapricciettoHarri Wessman (b.1949): GiocosoVeli-Matti Puumala (b. 1965): Édera IVKimmo Hakola (b.1958): A Double Jubilee.
SKU: HL.51481370
ISBN 9790201813707. UPC: 888680749972. 9.25x12.25x0.391 inches.
Just like many other violin virtuosos of the 19th century, Pablo de Sarasate also composed a series of pieces for violin and piano (or orchestra) for his own concert use. Highly virtuosic salon pieces with echoes of national folk music traditions from all over Europe are at the centre. Sarasate published his eight Spanish dances in four books between 1878 and 1882. They alternate between fiery passion and a yearning expressiveness, and are undoubtedly among his most successful compositions. In masterly fashion, Sarasate here mixes up Spanish folk tunes with arrangements of popular compositions of the time. As in the case of the Henle Urtext edition of Sarasate's Zigeunerweisen (HN 573), a violin wizard of our own time is responsible for the fingerings and bowings: Ingolf Turban.
SKU: HL.51481346
ISBN 9790201813462. UPC: 888680925031. 9.25x12.0x0.066 inches.
When composing his Spanish Dances (HN 1370), the composer and violin virtuoso Sarasate united existing material - folk songs and songs by well-known composers - with his own uniquely charming musical language. The two Dances op. 22, “Romanza andaluza†and “JotaNavarra,†were completed in 1878 during Sarasate's first concert tour through Scandinavia. After their initial performances, the lyrical “Romanza†soon outstripped its brilliant sister piece in popularity, and thereafter it was one of Sarasate's compositions that he played most often himself. Since then, this piece has lost nothing of its charm, and it is now available as a stand-alone edition in the Henle catalogue.
SKU: HL.48180736
For violin and piano.
SKU: HL.48180735
SKU: HL.48181046
SKU: HL.48180732
UPC: 888680831769. 10.25x13.5 inches.
SKU: HL.49019151
ISBN 9790543504455. 9.0x12.0x0.136 inches.
SKU: HL.51480587
ISBN 9790201805870. UPC: 888680044091. 10.0x13.0x0.15 inches.
“Virtuoso piece in the style of a Hungarian Rhapsody†– thus reads Ravel's entry on “Tzigane†in the so-called “Autobiographical Sketch.†Composed in 1924, there are three versions of this work: with piano, with orchestra and with luthéal, a device for keyboard instruments to extend the timbre. “Tzigane†was inspired by the Hungarian-English violinist Jelly d'Aranyl, to whom Ravel had already promised a virtuoso piece in 1922 following Franz Liszt's “Hungarian Rhapsodies.†Work progressed slowly and d'Aranyl only received the music four days before the première – but she still gave a brilliant performance.
SKU: HL.49019152
ISBN 9790543509689. 9.0x12.0x0.091 inches.
SKU: HL.49019154
ISBN 9790543509672. UPC: 840126938999. 9.0x12.0x0.105 inches.
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: HL.48180737
Easy Pieces in the 1st Position.
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