SKU: PR.14440265S
UPC: 680160027910.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’ It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
SKU: HL.14027822
ISBN 9788759877579. English.
Roses Are Falling - 5 songs for Mezzo-Soprano and Piano by Bent Sorensen (1998) with lyrics by Selima Hill. Programme note: Roses are Falling had its origin in a small opera sketch I created with the English poet Selima Hill in just under a week during an opera workshop in the south of England in the autumn of 1998. After the workshop I was asked to make a song cycle out of the material. The opera sketch begins with a woman and a man sitting alone in a room. They have drawn aside from the rest of a large party and they have just decided to finish their love affair. The other guests at the party come into the room, and amidst the crowd the man leaves the room. The women is leftthere alone among all these inconsequential people: alone, singing her own thoughts and torment. The first three songs were all taken from this part. In the fourth song, which was written late, the text is taken from one of Selima Hill's poetry collections. The fifth and last song comes partly from the beginning of the opera, where the man and the women sit alone (she knows what is coming), partly from the end of the story, where despite the gab in time and space they touch each other with their dreams. His voice is heard as a whisper that merges with hers: He takes me in his arms like the moon that turns and take the evening from the sun. Roses are Falling was premiered in 2000 in London by Lore Lixenberg and Domenic Saunders.
SKU: BR.EB-10701
In Cooperation with G. Henle Verlag
ISBN 9790201807010. 9.5 x 12 inches.
With the publication of the score and parts of the D-major Horn Concerto K. 412/514, the Mozart expert Henrik Wiese adds another milestone to his edition of this important work group which was begun in 2013. In the course of time, the piece that was first edited in the Old Mozart Edition of 1881 as Mozarts 1st Horn Concerto turned out to be a pasticcio: while the opening movement is indisputably by Mozart, the elaboration of the Rondo must now be attributed to Sussmayr. This movement is transmitted solely as a sketch in Mozarts hand. The present edition contains both the Sussmayr Rondo (K. 514 = smWV 502) and the Mozartian Rondo fragment (K. 412) which was carefully completed by Wiese. The performer will thus have the choice between the traditional version (with Sussmayr) and the version presumably intended by Mozart, all in one practical edition.In Cooperation with G. Henle Verlag. EB 10701 contains the parts for horn in F and Eb.
SKU: BR.EB-10787
In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Piano reduction. 68 pages. Duration 28'. Breitkopf and Haertel #EB 10787. Published by Breitkopf and Haertel (BR.EB-10787).
ISBN 9790201807874. 9.5 x 12 inches.
Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.
SKU: SU.80101410
Fantasy-Variations on Two Themes (2017) for organ was written for Heinrich Christensen in celebration of his significant 2017 birthday. The musical material for the work comprises two different themes. The first is a short melody by the Danish composer Carl Nielsen (1865-1931). (It was a sketch originally intended for inclusion in, but ultimately left out of, Nielsen's late organ work 29 Little Preludes.) This theme represents Heinrich's native Denmark. The second theme is the American folk-gospel hymn Angel Band. This theme represents Heinrich's adopted American homeland. It serves also as a remembrance of our dear mutual friend Harry Lyn Huff (1952-2016), for whom the tune was a particular favorite. Both these themes are developed freely in a set of alternating fantasy-variations. The opening variation begins with a dramatic pedal solo before quoting both themes. The second variation is a lyric setting based on the Nielsen melody. The third is a jubilant hornpipe on Angel Band. The fourth is an aria on a transformation of the Nielsen melody. The fifth is a gigue-toccata on Angel Band. The sixth is an atmospheric contemplation: lush chords in the manuals move slowly and hint at Angel Band while the Nielsen melody is heard for the first time in its complete original form on a high pedal stop. The seventh and final variation begins with a brief evocation of the harmonies of the late Daniel Pinkham (a mentor to both Heinrich and me) before going on to return dramatically and jubilantly to the opening music, bringing together both themes again in a bold conclusion. Instrumentation: Organ Duration: 15' Composed: 2017 Published by: Zimbel Press.
SKU: AP.36-50100324
UPC: 735816184612. English.
In the late 1960s, Alan Shulman composed four works for symphonic winds. Interstate 90 dates from a 1962 sketch depicting a drive heading west on the Massachusetts Turnpike and New York State Thruway. It was completed in August 1968 and received its first performance in 1969 by the Gloria Concert Band conducted by Don Butterfield. This arrangement was written by Adam Michlin. (3:00).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: GI.G-10156
ISBN 9781622775941.
Voice Collectors is a vibrant collection of the many different musical traditions that come from the country of China. In this book, thirty-two Chinese men and women—representing a variety of ages, occupations, geographic regions, and ethnicities—joyfully recall their musical experiences and share popular or significant songs from their home provinces. Each chapter includes a biographical sketch and photograph of its Culture Bearer, followed by a vocal or instrumental selection of their choosing. Beautiful field recordings featuring authentic musical performances by each Culture Bearer are included for all songs, along with notation (when applicable), background and translations, pinyin, and audio pronunciation guides. Each chapter also conveniently includes ideas for classroom use—pedagogical extensions, activities, and discussion questions—as well as ideas for at-home use with families. Especially noteworthy are the short, imaginative children’s stories and vibrant full-color illustrations that conclude each chapter, offering yet another entry point for young learners. Equally suited for the elementary and middle school music classrooms or for at-home use, Voice Collectors is the perfect source for exploring the diversity of musical sounds, textures, instruments, and timbres of Chinese music in a meaningful and culturally connected way. Le Zhang (author) is an Assistant Professor of Music Education at Hainan Normal University in Hainan, China, and is a specialist in international education and elementary general music education. Sarah H. Watts (author) is an Assistant Professor of Music Education at The Pennsylvania State University and is a specialist in early childhood and elementary general music education. Shiqi Liu (illustrator) is the A Level and International Baccalaureate Art Teacher of the International Curriculum Center affiliated with Renmin University of China. Karen Howard (series editor) is Associate Professor of Music at the University of St. Thomas. Her research and teaching interests include diversification of educational strategies, dispositions, and repertoire to create a more equitable learning environment for students of all ages. CLICK HERE to download the Online Resources.
SKU: AP.36-50105324
ISBN 9798892703147. UPC: 659359503184. English.
SKU: TM.10082SC
Symphonic Sketch fr Slav Quartet.
SKU: TM.10082SET
SKU: TM.10081VS
SKU: PR.ZM23630
UPC: 680160651016.
SKU: HL.288097
ISBN 9781540044341. UPC: 888680910242. 8.5x14.0x0.286 inches.
Commissioned by the Los Angeles Philharmonic for Gustavo Dudamel, Hartke's fourth symphony is a strikingly-powerful and emotionally-charged work. The solo organ part was written for and actually sketched out on the one-of-a-kind grand concert organ at Walt Disney Hall. Though it was originally conceived as a twenty-minute piece without vocals, Hartke surreptitiously came across the gorgeous translation of Lorca's poem, The Sleepwalking Ballad by late Irish Poet Michael Hartnett and masterfully set the text into a climactic finale with solo Soprano as composer Gustav Mahler had famously done in his own fourth symphony.
SKU: HL.254192
UPC: 196288020622. 9.5x12.25 inches.
The songs of Mieczyslaw Karlowicz appeared in the history of Polish song as a rather unusual phenomenon. In the output of this outstanding symphonist - as youthful works - they formed an anacrusis, albeit a significant one, to his fully mature and masterful output. Nearly all of them were written over the course of a single year. Composed on the margins of his academic course in composition, they appear to represent a document of deeply personal feelings and thoughts, seismographically recording his current states of mind. Of the twenty-nine songs known to have existed, twenty-two have come down to us; the seven unpublished works, some merely sketched, were lost during the Second World War. Overlooking a couple of them, of a separate character, they form a remarkably coherent body of work. On closer inspection, it turns out that this cohesion of a distinctive character marks the whole of Karlowicz's oeuvre. Thesymphonic poems of the composer of Eternal songs are set within the same space of ideas and meanings as the songs; they are marked by analogous categories of expression. And it is a space which the composers main biographer, Adolf Chybinski, described as teeming with tragedy and boundless woe, resignation and a longing for another world'. In terms of the style of utterance, Mieczyslaw Karlowiczs songs - although deeply rooted in late Romantic style - have often been described as output standing on the threshold of a modernist phase. Zdzislaw Jachimecki wrote in 1930:A warm lyrical note in many of them, a genuine inspiration manifested in the very natural way inwhich the melodies are drawn, unsophisticated forms of accompaniment, which are nevertheless suited to the mood of the poetry in question and organically linked to the song, and the accomplished declamation and construction of these works have earned Karlowicz's songs deserved popularity in Polish singing circles.
SKU: HL.49047082
ISBN 9781705185223. UPC: 842819118312.
A Bu composed the first sketch of this sonata shortly after the death of Nikolai Kapustin in July 2020. The subtitle ââ¬ÅPinusââ¬Â (Pine) is given in memory of Kapustin's profound artistry and musical determination. Its four-movement structure and jazz style are based on Kapustin's Sonata-Fantasy Op. 39.
SKU: BR.BV-388
ISBN 9783765103889. 6.5 x 9.5 inches. German.
Michael Dartsch offers a number of stunning perspectives on the theme of early musical training and, above all, on the concept of music education. Under the premise of education as a goal-concept, the author begins by sketching a general introduction to pedagogy. Then he focuses on the significance of music for human beings before defining the contents, methods and goals of instruction. After Handbuch Uben, ed. by Ulrich Mahlert, and Christoph Wagner's Hand und Instrument, Mensch, Musik und Bildung is a further basic music-pedagogical volume published by Breitkopf & Hartel, as well as Umfassend Musizieren by Andreas Doerne.
SKU: BR.BV-389
ISBN 9783765103896. 6.5 x 9.5 inches. German.
Umfassend Musizieren is not an in-depth essay that aims to give a comprehensive treatment of this vast topic. Instead, Andreas Doerne depicts the various dimensions of music-making in order to sketch the rudiments of an integral instrumental training. He departs from the conviction that music-making affects all levels of human life and should incorporate them when imparted to others. The goal is a comprehensive, varied training on the instrument, which gives rise to an intensive experience and existential relationship between man and music. Umfassend Musizieren sees itself along with Michael Dartsch's Mensch, Musik und Bildung as a sequel to the publisher's basic music-pedagogical writings, the first volumes of which Handbuch Uben ed. by Ulrich Mahler and Christoph Wagner's Hand und Instrument were published a few years ago.
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