| Children's Symphony in C major [Score] Breitkopf & Härtel
Horn and orchestra (0.0.0.0 - 0.1.0.0 - perc(3) - ratchet rattle.nightingale.cuc...(+)
Horn and orchestra (0.0.0.0 - 0.1.0.0 - perc(3) - ratchet rattle.nightingale.cuckoo.quail - str(without va)) SKU: BR.PB-4905 Berchtolsgaden. Composed by Leopold Mozart. Edited by Georg Sandre. Arranged by Gustave Sandre. Orchestra; stapled. Partitur-Bibliothek (Score Library). The piano versions of the Children's Symphony have been part of Breitkopf's orchestral materials for over a hundred years now. They are not merely piano parts, however, but full-blooded reductions for piano twohands or four-hands. Symphony; Early classical. Full score. 8 pages. Duration 11'. Breitkopf and Haertel #PB 4905. Published by Breitkopf and Haertel (BR.PB-4905). ISBN 9790004207017. 9 x 12 inches. The work, originally titled Berchtolsgader-Musik, goes back to the Cassatio ex G by Leopold Mozart, whose movements 3, 4 and 7 are identical to the Kinder-Symphonie [Children's Symphony]. For a long time, the authorship of the work was uncertain. It was attributed to Joseph Haydn and his brother Michael, at times also to Edmund Angerer and Leopold Mozart's pupil Johann Rainprechter. The work probably first received the designation Kinder-Symphonie in 1813 through an edition by the music publisher Hofmeister.In the Children's Symphony, a cuckoo, a quail and other unusual instruments are used in addition to the usual orchestral scoring. These belong to the Berchtesgaden instruments: flutes, whistles and rattles carved from wood, manufactured in the Berchtesgaden region and widely used as children's toys throughout the country. Today, these instruments can also be replaced by flutes, whistles as well as ratchets, rattles or bell trees. $13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Clarinet Quintet in A Major Op. 146 Clarinet Quintet: Clarinet, String Quartet [Study Score / Miniature] G. Henle
Composed by Max Reger (1873-1916). Edited by Michael Kube. For Clarinet Quintet ...(+)
Composed by Max Reger (1873-1916). Edited by Michael Kube. For Clarinet Quintet (Study Score). Henle Study Scores. Softcover. G. Henle #HN7117. Published by G. Henle
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| Clarinet Quintet in A Major Op. 146 Clarinet Quintet: Clarinet, String Quartet G. Henle
Composed by Max Reger (1873-1916). Edited by Michael Kube. For Clarinet Quintet ...(+)
Composed by Max Reger (1873-1916). Edited by Michael Kube. For Clarinet Quintet (Parts). Henle Music Folios. Softcover. G. Henle #HN1117. Published by G. Henle
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| Irish Melodies for Clarinet Clarinet [Sheet music + Audio access] - Intermediate De Haske Publications
Clarinet - late intermediate SKU: BT.1250-05-404-DHI Composed by Joachim ...(+)
Clarinet - late intermediate SKU: BT.1250-05-404-DHI Composed by Joachim Johow. Book with Online Audio. Composed 2021. 24 pages. De Haske International #1250-05-404 DHI. Published by De Haske International (BT.1250-05-404-DHI). ISBN 9789043161695. 9x12 inches. English-German-French-Dutch. A collection of original Irish songs designed for violinists produced following years of research. Ideal for concert performances or for private study, the songs range from fast jigs to quiet ballads. With chord symbols to enableperformance with guitar, a harmonica or a banjo. This publication comes with audio tracks (available online in MP3 format) featuring complete performances together with play-along accompaniments.
Deze geslaagde collectie van oude en nieuwe dansen geeft je de kans om mooie folkmuziek te spelen. De stukken in Irish Melodies variëren van snelle, meeslepende jigs tot rustige songs in balladstijl. Om uitvoeringen metanderen mogelijk te maken zijn akkoordsymbolen toegevoegd. De stukken kunnen bijvoorbeeld worden gespeeld in combinatie met instrumenten als gitaar, fluit of banjo die bijzonder geschikt zijn voor de originele speelstijl. Delive opgenomen audiotracks zijn online beschikbaar in mp3-formaat en bevatten voorbeeldversies en begeleidingen van alle melodieën uit het boek, erg handig om mee te studeren óf om mee op te treden.
Diese Sammlung von original irischer Musik bietet etwas fortgeschritteneren Spielern einen Einblick in die Schönheit und den Reichtum von neuen und traditionellen Melodien. Die 17 Stücke variieren von schnellen Jigs bis zu ruhigenBalladen und können alleine oder bei Auftritten gespielt werden. Dank der notierten Akkordsymbole kann man sich stilecht von Gitarre, Akkordeon oder Banjo begleiten lassen. Die online im MP3-Format verfügbaren Audiotracks, dieneben Demoversionen auch Begleitungen aller Stücke umfassen, helfen beim ÃÅben und Vorspielen.
Ce recueil de musique irlandaise permet d'approfondir ses connaissances stylistiques travers des airs irlandais anciens et récents. Les piéces peuventêtre interprétées en associant des instruments comme la guitare, l'accordéonou le banjo (symboles dôaccord notés sur les partitions). Les enregistrements sont disponibles en ligne au format MP3 ; vous trouverez une version de démonstration de chaque piéce ainsi quôune version play-along.
Questa pubblicazione di musica irlandese permette ai musicisti con gi qualche anno di pratica strumentale di approfondire la conoscenza stilistica attraverso arie antiche e più recenti. I brani possono essere interpretati assiemea strumenti quali la chitarra, la fisarmonica o il banjo (simboli degli accordi segnati sulla partitura). Le registrazioni audio sono accessibili online come file MP3: troverete una registrazione integrale di tutti i brani e ancheuna versione play-along col solo accompagnamento. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Every Day in Your Spirit Hope Publishing Company
By Shirley Murray. Sacred. Print Music Collection (Hymn Texts). Published by Hop...(+)
By Shirley Murray. Sacred. Print Music Collection (Hymn Texts). Published by Hope Publishing Company.
$13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| A Whole Lot of Symphony Themes Orchestra [Score and Parts] - Intermediate Belwin
Arranged by Douglas E. Wagner. Orchestra. For full (bells/chimes, timp, crash cy...(+)
Arranged by Douglas E. Wagner. Orchestra. For full (bells/chimes, timp, crash cym/triangle/snare, vln3). Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Form: Medley. Light Concert. Grade 3. 228 pages. Published by Belwin Publishing
(2)$59.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 5 Estudios Tangueros for Guitar (2006) Guitar Ut Orpheus
Guitar SKU: UT.CH-102 Composed by Jorge Omar Kohan. Saddle stitching. Cla...(+)
Guitar SKU: UT.CH-102 Composed by Jorge Omar Kohan. Saddle stitching. Classical. Ut Orpheus #CH 102. Published by Ut Orpheus (UT.CH-102). ISBN 9790215315853. 9 x 12 inches. Composition winner of the 2nd Edition (2008) of the Classical Guitar Musical Composition Competition â??Suoni Nuovi Autoriâ?? in Latina, Italy (Section 2) The Tango music of the city of Buenos Aires has been developed for over a hundred years, and in recent decades it has been installed as one of the contemporary music genres that arouses more interest in public and performers from around the world. This series of short pieces certainly contain various difficulties, technical and interpretive, and above all mark elements of aâ? modern Tango language. The Milonga, Waltz, Tango Song, Tango and Candombe included in this work can be interpreted entirely as a Suite, or as separate parts. $14.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| A Whole Lot of Symphony Themes Orchestra [Score] - Easy Belwin
Orchestra - Grade 3 SKU: AP.35926S Arranged by Douglas E. Wagner. Full Or...(+)
Orchestra - Grade 3 SKU: AP.35926S Arranged by Douglas E. Wagner. Full Orchestra; Performance Music Ensemble; Single Titles. Belwin Intermediate Full Orchestra. Form: Medley. Light Concert; Masterwork Arrangement. Score. 24 pages. Belwin Music #00-35926S. Published by Belwin Music (AP.35926S). UPC: 038081408835. English. As the title implies, this piece is a brilliantly conceived medley of symphonic material spanning nearly two hundred years. In about four and a half minutes, your concert audiences will thrill to twelve of the best-known and revered melodies of all time, presented in seamless fashion. $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| We Come with Joy Choral SATB SATB Integrity Choral
A Musical Celebration of Christmas. Arranged by Marty Hamby. (SATB). Integrity ...(+)
A Musical Celebration of Christmas. Arranged by Marty Hamby. (SATB). Integrity Choral. 144 pages. Published by Integrity Choral.
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Live at the Opera - Violin Violin [Sheet music + CD] - Intermediate De Haske Publications
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautif...(+)
Violin - intermediate SKU: BT.DHP-1185780-400 The World's Most Beautiful Arias with Full Orchestra Play Along. Opera or Operetta. Book with CD. Composed 2018. 36 pages. De Haske Publications #DHP 1185780-400. Published by De Haske Publications (BT.DHP-1185780-400). ISBN 9789043153836. English-German-French-Dutch. For over three hundred years, great opera singers have held entire audiences under their spell. In so doing, they can call on an etensive repertoire of arias by many important composers. Live at the Opera now makes this precious treasure trove available to instrumentalists, too. Twelve of the most beautiful operatic melodies of all time have been specially arranged for violin and are performed by the renowned violinist Maximilian Lohse. The accompanying audio is performed by an authentic opera orchestra, which also includes a play-along version without soloist. Additionally, this unique collection also includes background info and tips on performance for theindividual arias.
Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: twaalf Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor viool en opgenomen door de gerenommeerd violist Maximilian Lohse. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria entips voorde uitvoering opgenomen.
Schon seit mehr als dreihundert Jahren ziehen gro�e Opernsängerinnen ein ganzes Opernpublikum in seinen Bann. Dabei können sie sich aus einem umfangreichen Arienrepertoire aus der Feder zahlreicher bedeutender Komponisten bedienen. Live at the Opera macht diesen kostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 12 der schönsten Opernmelodien aller Zeiten wurden hier eigens für Violine eingerichtet und werden von dem renommierten Geiger Maximilian Lohse vorgespielt. Ein echtes Opernorchester übernimmt dabei die Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Hintergrundwissen undAusführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung.
Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 12 arias dâ??opéras ont été individuellement arrangées pour le violon et enregistrées par le violoniste de renommée internationale Maximilian Lohse. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que deconseilsdâ??interprétation. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Fairest of the Fair Concert band - Easy Belwin
By John Philip Sousa (1854-1932). Arranged by Larry Clark. Concert Band. Concert...(+)
By John Philip Sousa (1854-1932). Arranged by Larry Clark. Concert Band. Concert Band. Belwin Young Band. Form: March. 20th Century; Romantic. Grade 2. Conductor Score and Parts. 250 pages. Duration 2:29. Published by Belwin Music
$60.00 $57 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Debbie Campbell: Totally Topical Conservation Right To Survive Piano, Vocal and Guitar Music Sales
Piano, Vocal and Guitar SKU: HL.14027393 Composed by Debbie Campbell. Mus...(+)
Piano, Vocal and Guitar SKU: HL.14027393 Composed by Debbie Campbell. Music Sales America. Tuition. Book [Softcover]. Music Sales #NOV200202. Published by Music Sales (HL.14027393). ISBN 9780853607021. Five memorable songs on the subject of wildlife conservation that are ideal for classroom use, school choirs or as an assembly item. The exciting Topical Ideas with each song provide fascinating background information, fun performance ideas and lots of cross-curricular possibilities. Topical ideas by Maureen Hanke, words and music by Debbie Campbell. $9.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| First String Quartet Playing Vn 1 String Quartet: 2 violins, viola, cello - Intermediate Schott
String quartet (V1) - intermediate to advanced SKU: HL.49006698 Origin...(+)
String quartet (V1) - intermediate to advanced SKU: HL.49006698 Original movement from 300 hundred years ago. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Individual part. 24 pages. Schott Music #ED 6838-11. Published by Schott Music (HL.49006698). ISBN 9790001072434. 9.0x12.0x0.068 inches. Den wachsenden Trend zur Kammermusik vor allem junger Spieler kommt diese Sammlung einzelner leichter Quartettsatze aus Vorklassik, Klassik, Romantik und neuerer Musik entgegen. Partitur und Stimmen enthalten Spielhilfen. Eine nutzliche Ausgabe fur den Kammermusikunterricht. $9.99 - See more - Buy online | | |
| 10 Progressive Tunes from 'The School of Melody' for Violin and Piano Violin and Piano Stainer and Bell
Violin & Piano SKU: ST.2053 Composed by Arthur Somervell. String music. S...(+)
Violin & Piano SKU: ST.2053 Composed by Arthur Somervell. String music. Score and part. Stainer & Bell Ltd. #2053. Published by Stainer & Bell Ltd. (ST.2053). ISBN 9790220215124. These ten little pieces were written as part of his work for the Competitive Festival Movement and partly provide graded material for school violin lessons. They have remained favourites in both areas for almost a hundred years.
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| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Five Tachanunim for Cembalo Harpsichord [Score] OR-TAV Music Publications
Harpsichord SKU: OT.21125 Composed by Daniel Akiva. 5 short pieces for ha...(+)
Harpsichord SKU: OT.21125 Composed by Daniel Akiva. 5 short pieces for harpsichord/cembalo. Classical. Score. OR-TAV Music Publications #21125. Published by OR-TAV Music Publications (OT.21125). ISBN 9789655051117. 8.27 x 11.69 inches. The five short movements for solo cembalo are brief, personal prayers that depict how the subject manages a range of feelings and emotions. The miniatures each represent a different emotional state: reflection, searching, meditation, agitation, and resolution. Each is a small-scale representation of a grand, wide-ranging prayer of supplication. As a composer, performer, and researcher of early music, writing for cembalo allows me not only to express my special connection to the instrument and the period in which it flourished, but also to present its contemporary dimensions as a rich and versatile instrument. The piece was composed at the request of Hagai Yodan, who performs it with great skill. Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school. Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz. $11.19 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Bach to the Future - Intermediate Wilhelm Hansen
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and ...(+)
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and Orchestra Score. Composed by Per Nø, Per Norgard, rd, and rgå. Music Sales America. Classical. Set. 134 pages. Duration 1200 seconds. Edition Wilhelm Hansen #KP00615. Published by Edition Wilhelm Hansen (HL.14003062). ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish. Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co. $82.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alma i Vida i Korason OR-TAV Music Publications
Voice,guitar SKU: OT.28104 Composed by Daniel Akiva. Sephardic Anthology ...(+)
Voice,guitar SKU: OT.28104 Composed by Daniel Akiva. Sephardic Anthology for voice and guitar. Classical,Jewish. Performance score. OR-TAV Music Publications #28104. Published by OR-TAV Music Publications (OT.28104). ISBN 9789655051100. 8.27 x 11.69 inches. Daniel Akiva Alma i Vida i Korason Sephardic Anthology for voice and guitar The 18 songs of the collection Alma i Vida i Korason include romansas, cantigas, life cycle songs and original music composed to poems by Avner Perez, a journey in Ladino song from the Middle Ages through the 21st century. Alma i Vida i Korason was recently recorded by Sivan Goldman, soprano and Daniel Akiva, guitar, together with a special series of short videos filmed at the Ralli Museum in Caesarea, Israel. For further information, please visit the YouTube and Spotify channels of the composer. Contents: 1. A la una Naci yo 2. Kisa Agora el Amor 3. Durme Durme Mi Andjeliko 4. Morena me Yaman 5. La Serena 6. Durme Durme Mi Alma Donzeya 7. Noches Noches 8. Mama Yo no Tengo Visto 9. Ya Abasha La Novia 10. Esta Noche 11. Ya Viene El Kativo 12. Komo La Roza 13. Ay Linda Amiga 14. El Prisionero 15. Kantiga de Kune Para Selanik 16. Puncha Puncha 17. Durme Hermozo Hiziko 18. Sirkiji
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have earned international acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies of lute with Jonathan Rubin and composition with Jean Ballisa at the Geneva Conservatorium in Switzerland. In 1986 he founded the Music Department at the WIZO High School for the Arts in Haifa which he headed for over thirty years. As part of his work at WIZO High School, he developed a method for teaching free improvisation which has been incorporated into the music program at the school. He also served as the Artistic Director of the Guitar Gems Festival from 2006-2018. Mr. Akiva has performed in concerts as a guitarist and lutenist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. Akiva's work Psalms for guitar solo was awarded the ACUM prize for composition in 1990, and his string quartet Ciclos was awarded the ACUM prize for composition in 2002. In 2006 his CD Hope, recorded with Laurel Zucker (flute) and Ronit Widmann-Levy (soprano) was awarded the Amazon prize. In 2017 Akiva was awarded the Prime Minister's Prize for composers in Israel. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. A large part of his oeuvre has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue throughout the years with poets and writers Amnon Shemesh, Rivka Miriam, and Avner Perez. 105 pages, softcover. $31.19 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Malchut OR-TAV Music Publications
Voice SKU: OT.28102 Composed by Daniel Akiva. For voice and piano. Classi...(+)
Voice SKU: OT.28102 Composed by Daniel Akiva. For voice and piano. Classical. Performance score. OR-TAV Music Publications #28102. Published by OR-TAV Music Publications (OT.28102). ISBN 9789655050837. 8.27 x 11.69 inches. Songs for voice and piano on poems by Rivka Miriam Contents: Malchut (Kingdom) Nigun (Tune) Song Cycle - A Tree Touched a Tree The Flow of Water as the Flow of Light Language: Hebrew. The text appears in the score in both Hebrew and Latin letters. Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years he chaired the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he developed a method for teaching free improvisation that has been incorporated into the music program at the school. Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shemesh, Rivka Miriam, and Avner Peretz. $9.94 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sarina kanta for mezzo-sop and pno Soprano voice OR-TAV Music Publications
Soprano voice SKU: OT.28101 Composed by Daniel Akiva. For mezzo-soprano a...(+)
Soprano voice SKU: OT.28101 Composed by Daniel Akiva. For mezzo-soprano and piano. Classical, Jewish. Performance score. OR-TAV Music Publications #28101. Published by OR-TAV Music Publications (OT.28101). ISBN 9789655050752. 8.27 x 11.69 inches. Song cycle in Ladino for mezzo-soprano and piano. The song cycle Sarina kanta is sung in Ladino and was inspired by Sephardic folk songs. Various folk songs are quoted in the work. The first movement is a fantasia based on a poem by Avner Perez, Sarina kanta romansas, (Sarina sings romances). Sarina is Perez' grandmother, whose memory is recalled in this cycle of poems. The remaining movements are based on songs from the Ladino repertoire. Sarina kanta is also published for soprano and piano, and in the original version for mezzo-soprano and string orchestra. Contents: Sarina kanta Una matika de ruda Ya abasha la novia La Estreyas Ya salio de la mar Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. FOr many years he chaired the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-1019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school. Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz. $11.19 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Partita Violin SATB, Orchestra [Score] OR-TAV Music Publications
Violin SKU: OT.22090 Composed by Daniel Akiva. For violin solo. Classical...(+)
Violin SKU: OT.22090 Composed by Daniel Akiva. For violin solo. Classical. Score. OR-TAV Music Publications #22090. Published by OR-TAV Music Publications (OT.22090). ISBN 9789655050738. 8.27 x 11.69 inches. Daniel Akiva's Partita for violin solo consists of six movements based loosely on music of the Sephardic Jews. It was written for students as performance material, and dedicated to them. Contents: Liturgical Song Prayer Supplication Dance Kaddish Supplication Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school. Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz. $8.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 4 Bakashot for Oboe Solo Oboe [Score] OR-TAV Music Publications
Oboe SKU: OT.23127 Composed by Daniel Akiva. 4 miniatures for oboe solo. ...(+)
Oboe SKU: OT.23127 Composed by Daniel Akiva. 4 miniatures for oboe solo. Classical, Jewish. Score. OR-TAV Music Publications #23127. Published by OR-TAV Music Publications (OT.23127). ISBN 9789655050721. 8.27 x 11.69 inches. Bakashot are piyyutim (religious poems) which are sung late at night mostly on Sabbaths and holidays. These poems have many spiritual and mystical influences, and their origin is among the Sephardic Jews before the Expulsion from Spain. The singing of the bakashot was expanded during the 16th Century, particularly by the mystics in Safed, and appears also in the singing of the the maftirim among Turkish Jews. These four miniatures for oboe solo are personal prayers written in the inspiration of the bakashot. Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school. Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014. A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz. $7.44 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 101 Montunos Book/2CDs Piano solo [Sheet music + CD] Sher Music Company
With 2 CDs. Jazz, Jazz Instruction. 101 Montunos. Softcover Book and CD. She...(+)
With 2 CDs. Jazz, Jazz
Instruction. 101 Montunos.
Softcover Book and CD. Sher
Music Company #9781883217075.
Published by Sher Music
Company
$57.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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