SKU: CA.246100

ISBN 9790007252854.

What would Christmas time be without music-making together? Advent, Christmas, and winter songs play an important role for all beginners on a melody instrument, because with these they can show off their progress on the instrument during the first year. And nothing is better suited to this than well-loved and popular pieces such as Christmas classics. The six volumes in our new series for instrumental teaching, developed in collaboration with the Landesakademie fur die musizierende Jugend in Baden-Wurttemberg, all contain 20 easy carols arranged in progressive level of difficulty. Experienced instrumental teachers have made a selection of carols for each instrument according to specific criteria. These can be mastered as part of music school lessons after just a few weeks and months. All the carols have been chosen and transposed so that the range and fingering combinations do not exceed the level of difficulty for the first three years of learning. The piano accompaniment is of moderate difficulty. For many of the carols, an ad lib upper or lower part is included which can also be played by instrumental pupils. The volumes are therefore suitable for individual as well as group tuition. The arrangements are based ont the piano and instrumental books from the CHRISTMAS CAROLS project (Carus 2.403/03 und 2.404/03) which is part of the LIEDERPROJEKT, the charitable project to further singing with children. The books contain singing texts for all the carols, providing a full range of options for singing and playing together at Christmas. All the books include the printed music of the piano accompaniment. Digital playalong tracks are available for all the books. Further editions for flute, recorder, clarinet, alto saxophone, violin.

SKU: CA.246500

ISBN 9790007253134.

What would Christmas time be without music-making together? Advent, Christmas, and winter songs play an important role for all beginners on a melody instrument, because with these they can show off their progress on the instrument during the first year. And nothing is better suited to this than well-loved and popular pieces such as Christmas classics. The six volumes in our new series for instrumental teaching, developed in collaboration with the Landesakademie fur die musizierende Jugend in Baden-Wurttemberg, all contain 20 easy carols arranged in progressive level of difficulty. Experienced instrumental teachers have made a selection of carols for each instrument according to specific criteria. These can be mastered as part of music school lessons after just a few weeks and months. All the carols have been chosen and transposed so that the range and fingering combinations do not exceed the level of difficulty for the first three years of learning. The piano accompaniment is of moderate difficulty. For many of the carols, an ad lib upper or lower part is included which can also be played by instrumental pupils. The volumes are therefore suitable for individual as well as group tuition. The arrangements are based on the piano and instrumental books from the CHRISTMAS CAROLS project (Carus 2.403/03 und 2.404/03) which is part of the LIEDERPROJEKT, the charitable project to further singing with children. The books contain singing texts for all the carols, providing a full range of options for singing and playing together at Christmas. All the books include the printed music of the piano accompaniment. Digital playalong tracks are available for all the books. Further editions for flute, recorder, clarinet, trumpet, violin.

SKU: BR.BHM-7815

SKU: BO.B.3292

English comments:
This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music critic

Comentarios del Espanol:
Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.

SKU: BO.EI0314

Within musical activities there exists a great diversity of different aspects that often go far beyond any particular specialization. Of all cultural activities clearly music is one that manifests numerous multidisciplinary features which not only enriches music itself but also all who are involved in it. This is certainly the case of Jordi Vilaprinyo, an excellent pianist, brilliant composer and a dedicated pedagogue with a remarkable career as a professor at the Conservatorio Municipal de Musica de Barcelona and in other educational institutions. All of this is all in addition to his role as a tireless advocate of everything relating to the piano, which reveals his exceptional personality completely dedicated to his greatest passion-music.

The academic year 2011-12 marked the celebration of the 125th anniversary of the Conservatorio Municipal de Musica de Barcelona. In honor of the occasion, Jordi Vilaprinyo composed a series of eleven short pieces which present a pianistic-musical portrait of each professor of the Piano Department in our Conservatory. This piece, written in the form of a suite, brings together eleven imaginative musical sketches which reflect the personal qualities and musical personalities of his colleagues as seen through the eyes of Mr. Vilaprinyo. These eleven portraits reveal the respect which Jordi feels for his colleagues and at the same time they are ideal teaching pieces.

The various portraits are written in a free and diverse musical language which is always effective. Certain moments are quite evocative while others are more descriptive and, at times, more energetic. The varied textures and sonic balance are always highly controlled and affecting. However, I would like to emphasize, that although the work could be considered as program music due to its personal nature, the pieces stand apart for their musical quality.

Published by Editorial Boileau, the work was premiered in a student concert which Professor Maria Rosa Ribas organizes each year. Professor Ribas is one of the members of the Piano Department depicted in the musical portraits. The premiere, performed by students of the Conservatory, took place in the Auditorio Eduard Toldra on May 30, 2011.

The Onze retrats [Eleven Portraits] are dedicated respectively to the following professors: Carolina Saldana, Merce Molero, Maria Drets, Montserrat Cabero, Maria Jesus Crespo, Carles Marques, Maria Rosa Ribas, Albada Olaya, Montse Padros, Carme Poch and Mireia Planas.