SKU: XC.LS1810
UPC: 812598030150. 12 x 9 inches.
The Legacy Solo Series contains masterworks meticulously edited and set beautifully by one of the most popular composers of music for students today, Larry Clark. These solos are routinely found on many state festival lists throughout the United States and are perfect for use at an adjudicated solo festival or recital. Commonly featured on college audition lists, these works are a cornerstone of the solo repertoire. Piano players will enjoy piano reductions that are clean and feature the solo line in concert pitch for easy rehearsal. Each Legacy Solo, compatible with Smartmusic, comes with beautifully set parts and piano accompaniment. Piano recordings for rehearsal or performance of each piece are available for download from the Excelcia Music Publishing website.
SKU: HL.49046262
ISBN 9783795716660. UPC: 888680954178. 9.0x12.0x0.067 inches. German - English - French.
Ferdinand Küchler is regarded as one of the great violin teachers of the 20th century. Apart from his Violin Method, it is, above all, his concertinos that are an absolute must for the development of any violin pupil, especially his famous Concertino in G major Op. 11 (Schott SE 1001) as well as his Concertino in D major Op. 15 which both enjoy great popularity. Composed “in the style of Antonio Vivaldiâ€, the work has, without doubt, been one of the most frequently played works in student violin literature for decades. It is the perfect educational link to Vivaldi's somewhat more difficult “student concertosâ€. The completely baroque-style movements appeal to every pupil. The fast outer movements contain rewarding, always seemingly violinistic runs and idiomatic figurations. The appeal of the slow middle movement lies in its simple, yet tonally demanding Siciliano theme. The works requires knowledge of the 2nd and 3rd positions and is here presented in a new modern edition. Bowing, articulation and fingerings are based on today's experience of interpreting Vivaldi's music, providing creative space and possibilities for personal ideas in modern violin lessons. This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty,from 1 (easy) to 5 (difficult), for instrumental lessons. For more information see www.schott-student-edition.com.
SKU: HL.51481539
UPC: 196288308164. 9.25x12.0x0.16 inches.
During a concert tour through California in early 1920, Prokofiev composed five songs with piano accompaniment and textless voice parts, which appeared in print as Five Songs without Words op. 35 and with a dedication to the soprano Nina Koshetz. The quasi-instrumental conception of the work as vocalises accompanied by piano suggested an arrangement for violin and piano, which the composer then indeed undertook in 1925. Enriched with octave transpositions, double stops, harmonics and pizzicati, the violin part of the five pieces gained an enormous variety of additional expressive possibilities. No wonder the Five Melodies op. 35a today number among the Russian master's most popular chamber music works! Henle is publishing them for the first time as an Urtext edition based on all available sources. Simon Morrison, a true Prokofiev specialist, contributed the preface.
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SKU: PR.414411630
ISBN 9781491114551. UPC: 680160089956. 9.5 x 13 inches.
EXCURSIONS is a one-movement work exploring two “characters.†A rhapsodic, descending passage is introduced by the cello, followed by a static, chorale-like phrase for the violin and cello. Their individual developments are separated by a slow, contrasting middle section. The composer has written: “This is analogous to situations in life: we stand by a crossroad, choosing one option and forfeiting the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination… or can we? It is symbolic that in this work both roads eventually lead to the same place.â€.Excursions for violin, cello and piano, is a one-movement work of tripartite structure in which materials explored in the first of three large sections are brought back in the last section. The traditional statement-contrast-restatement form, which is readily suggested by such a description, is, however, not at all in the mold in which the work is cast. Rather, my aim was to subject the essential materials of the piece (two “characters†–the rhapsodic, descending passage played by the cello in the very opening and, later, a static, slow moving, chorale-like phrase for the violin and cello) to two entirely different developments separated by a slow, contrasting middle section. This is analogous to an exploration of the ramifications that two divergent choices made by the same person might lead to. In life, as we stand by a crossroad, choosing one option usually means having to forfeit the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination…or can we? It is, I believe, symbolic that in this work both roads eventually lead to the same place: in composing Excursions, it seemed absolutely inescapable that at the end the slow, contrasting middle sections – both more resigned and peaceful than the battling spirits of the outer parts – should return briefly to end the work. The piano trio combination (once highly favored, but to this composer still as challenging today) is approached here as a collaborative effort of three equal soloists – partners. Of the available pairings, the two strings find themselves occasionally approached as a team pitted against the piano. The cello-piano combination is also not uncommon here, and there is an extended violin cadenza toward the end of the piece. The writing for the three instruments is closely and at times interlinked, but the players are all instructed to play from scores. Excursions was first performed at Brandeis University in 1982.
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.
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