SKU: HL.49018949
ISBN 9790001152259.
Hermann Schroeder (1904-1984) is one of the best-known German organ composers of the 20th century. His late piano work Funf Charaktere (1974) is based less on contrapuntal and neo-classical composition techniques (like the two early piano sonatas) but rather on the tonal possibilities of the piano. The five movements which live on the changes of different tempos and emotions bear titles that refer to the mood and the character of the music: Capriccio - Legende - Scherzando - Elegie - Burleske. Thus, the pieces are not far away from being Romantic character pieces. Funf Charaktere is published as printed edition for the first time, based on the autograph left in the composer's estate.
SKU: AP.1-ADV7543
ISBN 9783892216537. UPC: 805095075434. English.
Bach composed this piece around 1725 at the beginning of his Leipzig years. The character of the Fantasie is serious and grave; even in the interludes a contemplative mood prevails. Its concerto form is strictly symmetrical: the main theme appears four times with three interludes between. The four-part double Fugue exemplifies Bach's superior contrapuntal craftsmanship as he combines two contrasting themes---one that's diatonic, rhythmic and agile, and another that consists of a descending chromatic line.
SKU: HL.49030432
ISBN 9781902455013. English. John Minnion.
In this sixth book of the series, the authors builld upon the lower junior stage, and use a similar modular format. Designed to extend skill acquisition in performance, improvising and composing, listening and appraising, and notating music, pupils are challenged by incresingly demanding musical materials. At the same time there is an emphasis on pupils acquiring knowledge and expertise of the deep structures of a range of music, and a greater acknowledgement of musical purpose and context. Attuned to the National Curriculum experiences, particular features of this book are: a consolidation and deepening of vocal and instrumental techniques and performance * an integrated approach to improvising and composing, combing skills in listening and appraising, knowledge and understanding * a module focusing on aural observation, representation, recording and notation of sound * an active, analytical and frequently physical approach to listening and appraising * a focus on music in its social and historical context in relation to dance.
SKU: FH.VAS2
ISBN 978-1-55440-572-5.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. Two volumes of Etudes (Preparatory-4 and 5-8) include selections that focus on technique for the left hand, right hand, and tone development at every level of study. Chosen as much for their musicality as their pedagogical benefits, these Etudes raise the study of technique to a new level of enjoyment.Legato Pieces in a Slower Tempo:Ode to Joy - Beethoven, Ludwig van arr. Mark MrozinskiAu clair de la lune (Underneath the Moonlight) - Traditional French song arr. Akiko and Forrest KinneyChorus of Soldiers, Townspeople, Matadors, Elephants, and Other Miscellaneous Opera Characters - Birston, HaroldCome to the Sea (Vieni sul mar) - Italian folk song arr. Christine Donkin)Streets of Laredo - American folk song arr. Forrest KinneyLand of the Silver Birch - Canadian folk song arr. Nancy TelferRed River Valley - American folk song arr. Christine DonkinEnergetic Pieces in a Faster Tempo:Dizzy Lizzy Lightweight - Attwood, Ben and Carol LumsdenSailor Song - Traditional sea shanty arr. Jason GrayTen Toads - Milne, ElissaPepperoni Pizza Pie - Hewitt-Jones, Anita and Caroline LumsdenA Lively Tune - Carse, AdamHark, What's Coming In from Out There? (Horch, was kommt von draussen rein?) - German folk song arr. Christine DonkinSomeone's in the Kitchen with Dinah - American folk song arr. Forrest KinneySaint Paul's Steeple - English folk song arr. Jason GrayThe Sounds So Glorious (Das klinget so herrlich) - Mozart, Wolfgang Amadeus arr. Christine Donkin.
SKU: WD.080689460777
UPC: 080689460777.
Christy and Daniel Semsen, celebrated writers and creators of innovative, best-selling musicals for children's choir are back, and they're at it again! Their latest adventure, Back to the Cross, will take your Kids Choir on an inventive, fun-filled, rousing romp through time, discovering the message of the Cross along the way! A Semsen musical is guaranteed to deliver big on FUN and even bigger on a spiritual message that speaks to each child! In Back to the Cross, the long-awaited sequel to their hit musical, Back to the Manger, we find Norman and our cast of characters embarking on a time-travel excursion relying on the questionable reliability of the H/O-2000 Temporal Displacement Modulator...otherwise known as time travel machine.
SKU: BA.BA05448
ISBN 9790006471478. 33.2 x 26.5 cm inches. Text Language: French. Text: Berlioz, Hector / Nerval, Gérard de.
In 1828 Berlioz wrote the Huit scènes de Faust. The work was soon withdrawn but almost twenty years later each of the eight scenes found a place in the Lgende dramatique La damnation de Faust dedicated to Franz Liszt. The first part of the Damnation exposes the figure of Faust and has an introductory nature. From the second part onwards, the course of action is largely based on Goethe’s drama.Contrasting characters and dramatic effect are of central importance in understanding Berlioz’s musical thought and his compositional process. Magic and fairy tale, incantations and ghosts, have been the ever-recurring themes of opera since the Baroque. It is precisely this fantasy in Berlioz's Faust, the “Opra de Concert en Quatre actsâ€, which comes very close to the spirit of Goethe's presentation.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: FL.FX072277
This original piece is constructed as the overture of a fantasy opera. It proposes 5 distinct environments with contrasting moods (solemn, humorous ...) which could symbolize 5 characters or situations, without development. The coda then overlays the various themes.
SKU: HL.49010372
ISBN 9783795761691. UPC: 841886011922. 5.25x7.5x1.25 inches. German.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: CF.FAS21
ISBN 9780825853067. UPC: 798408053062. 8.5 X 11 inches. Key: B minor.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece.As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.-Larry ClarkNew York, NY 2003.
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