SKU: PR.114422690
UPC: 680160684809. 9 x 12 inches.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends.In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.
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.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.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: BR.EB-10708
In Cooperation with G. Henle Verlag
ISBN 9790201807089. 9.5 x 12 inches.
Bruch's evergreen for the first time in Urtext Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto? The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.In Cooperation with G. Henle Verlag.
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.
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