SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: BR.OB-16104-19
ISBN 9790004339435. 10 x 12.5 inches.
The publishers Henle and Breitkopf & Hartel are continuing their collaboration, now with Brahms, by publishing the performance material of the double concerto. Brahms's last work with orchestra was published in the new Brahms Complete Edition in 2002, whereby the editor was able to base himself on newly accessible sources. Of particular interest are the additional performance instructions for the solo violin and solo cello, which were gathered from the first edition of the solo parts. These indications were supplied by the soloists of the first performance, Joseph Joachim and Robert Hausmann. No doubt authorized by Brahms, they communicate valuable insights into the performance practice of the time. The new material also contains a part in which the solo violin and cello are notated one above the other. The trio edition for violin, violoncello and piano (EB 6040), which was made by Brahms himself, has proven itself for chamber performances; it continues to be available.The full score is a conductor's dream: big, bold, and beautifully laid out on glare-free bluff paper. (Strings).
SKU: OU.9780193519602
ISBN 9780193519602. 12 x 8 inches.
Vaughan Williams's romance for solo violin and orchestra is given new life in this beautiful arrangement. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
SKU: HL.49010169
ISBN 9783795771362. UPC: 841886000315. 5.25x7.5x0.305 inches.
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: SU.91409191
Seven Works and a Documentary Video Recordings of live performances of music by: Christopher Fulkerson and Peter Maxell Davies with Gary Palmer and his dance company stage designs and costumes by Ariel. Christopher Fulkerson conducting The Composers Chamber Players with soloists John Casten - violin Thalia Moore - cello Lynne Morrow - mezzo soprano and with William Carslake - conducting The London Charity Orchestra with the documentary The Taxi Composer by Kate Imbach Christopher Fulkerson The Truth About Cinderella (8:50) Peter Maxwell Davis Vesalii Icones (44:44) Christopher Fulkerson L'Altrui Man Veste (9:57) Del Duo Pel Contesta (14:50) Ceremonial I (8:05) Suite for Solo Cello (16:40) The Lantern in the Crypt (3:20) The Taxi Composer (7:44) A Documentary by Kate Imbach.
SKU: CA.3116419
ISBN 9790007209063. Language: German/English.
This six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and parts available separately - see item CA.3116400.
SKU: IS.FC6910EM
ISBN 9790365069101.
Jukka-Pekka Lehto is a contemporary composer and flutist. He started his carreer in the Finnish marine-band and played aftrewards in the Turku Philharmonic Orchestra. Currently he is principal flutist in the Pori Sinfonietta. His compositions are neo-classicist with contemporary influences, many of which have been awarded prizes at international composition competitions. His works include music for wind band, chamber music, choir and various instrumental combinations.
SKU: HL.256461
UPC: 840126949346. 8.5x11.0x0.05 inches.
Contemporary American composer Nico Muhly is a prolific writer and arranger who, at 32, is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble, Orchestra and Chorus. Muhly has collaborated widely. This Choral work manifests some influences of Phillip Glass, for whom he has previously worked. Like As The Hart is Muhly's response to Herbert Howells's setting of the psalm, though in this version elongated harmonies 'drag' melodic fragments behind them.
SKU: CA.2040309
ISBN 9790007035341. Key: D dorian. Language: German/English.
Score available separately - see item CA.2040300.
SKU: P2.60041
Known throughout the world as a founding member, music programmer and arranger for the Boston Brass , JD Shaw has also performed in the Rochester Philharmonic, San Francisco Symphony, Wichita Symphony Orchestra, Missouri Symphony, Vienna Philharmonic and the Boston Pops. He has also been a featured performer on NPR's Performance Today and the CBS Morning Show. Prof. Shaw received a Bachelor of Music from Wichita State University, where he studied with Dr. Nicholas E. Smith, and a Master of Music from the Eastman School of Music. where he was awarded the Performer's Certificate under the tutelage of horn pedagogue Verne Reynolds.As an active performer and prolific arranger, Shaw has recorded over fifteen albums encompassing diverse musical styles from the classical, jazz, and Latin genres. His record labels include Loft Recordings, Mark Records, and Summit Records. A notable recent project featured the Boston Brass recording the Stan Kenton Christmas Carols with many well-known brass players, such as Scott Hartman, Jens Lindemann, Scott Thornburg, Jeff Nelsen, and Sam Pilafian. Prof. Shaw has presented numerous clinics and workshops for music educators, as well as masterclasses for students of all ages and levels. In addition to his credentials as a horn performer and teacher, he is the Brass Program Director and Music Arranger for the Phantom Regiment, the reigning Drum Corps International World Champion.
SKU: GI.G-9660
ISBN 9781622773572.
To learn from Alice is to come under a peculiar kind of enchantment . . . To hear her is to be spellbound by a melodic voice. — John Wykoff, from the Prelude The Melodic Voice presents a series of interviews with preeminent composer, conductor, and teacher Alice Parker that offers a fuller and more intimate view of her life and music than ever before. The conversations Cameron LaBarr and John Wykoff document in these pages perfectly capture the essence of Alice’s core philosophies on melody, arranging, singing, music teaching, conducting, and many other topics. During the course of the interviews, Alice discusses a wide range of topics: her childhood, her time as a student at Smith College and Juilliard, the death of her husband, her work with Robert Shaw, living in New York City, experiences with teaching, her compositional process, the importance of folk song, advice for students and teachers, and much more. In the accompanying video component, Alice speaks candidly and directly about many of her most popular and well-loved arrangements, including Hark, I Hear the Harps Eternal, Saints Bound for Heaven, What Shall We Do With a Drunken Sailor?, and John Saw Duh Numbuh, among others. Too few have had the privilege of attending one of Alice’s workshops or engaging with her in long conversations and round-the-table singing. But the conversational nature of this book gives everyone the chance to engage with her in a deeper way. Musicians and non-musicians alike are sure to be inspired by Alice’s words. Cameron LaBarr is Director of Choral Studies at Missouri State University. His choirs have performed extensively both at home and abroad, and he has worked as a guest conductor and clinician across the United States, Europe, South Africa, and Asia. John Wykoff is Associate Professor of Music Theory and Composition at Lee University. As an active composer, he writes for choir, orchestra, and chamber groups, and his music has been performed internationally by leading ensembles. Check out this clip below of Alice Parker discussing her beloved arrangement Hark, I Hear the Harps Eternal. This is just a small part of the over three hours of video interviews included in the purchase of this resource.
SKU: HL.51489939
UPC: 840126989403. 6.75x9.5x0.261 inches.
For flute (piccolo), clarinet (B flat/C), glass harmonica, xylophone, piano I, piano II, violin I, violin II, viola, violoncello, double bass Written in March 1886 as a humorous occasional work for the traditional carnival concert organized by his cellist friend Charles-Joseph Lebouc, the Carnival of the Animals was so successful that Saint-Saëns banned performances and publication soon afterwards. He was worried that this “grand zoological fantasy†– consisting of 14 short individual pieces for eleven instruments – might overshadow his serious works. Yet only five months after the composer's death, it appeared in print after all, beginning its worldwide victory march – in its original setting as well as in numerous arrangements. Thus, the Carnival did in fact arguably become the most popular work by this French composer and, owing to its musical originality, it is also a favourite in music lessons or for school orchestra performances. With this combination of a study edition and an edition in parts (for which additional parts for larger numbers of strings may be ordered), G. Henle Publishers now presents the perfect resource for such occasions.
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SKU: PR.110418370
ISBN 9781491135075. UPC: 680160686247.
Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.Composed when Charles Ives was a teenager, Variations on “America†is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking†elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.
SKU: HL.48024627
ISBN 9781784545208. UPC: 888680940812.
One of MacMillan's earliest successes was his first percussion concerto, Veni, Veni, Emmanuel (1992), firmly established with hundreds of performances to date. Percussion Concerto no 2 was therefore received with great excitement at its premiere in 2014 by Colin Currie and the Netherlands Radio Philharmonic. Like its predecessor, the second concerto is formed in a single, c25-minute span, albeit with contrasting sections, but with full orchestra scoring. The significant array of solo percussion is complemented by two orchestral percussion sections; notably the soloist makes use of a recently invented instrument, the aluphone. This edition doesn't include the solo part as a single edition.
SKU: CA.5022800
ISBN 9790007091842.
The two organ concertos are marked by somewhat unusual instrumentation. Hector Berlioz warned about a certain antipathy between the organ and orchestral instruments, but with the use of three horns in op. 137 proves to be a fine piece of artistry: Rheinberger supplied tone colors which he had perceived the organ to lack. The trio version of the Suite op. 149 adds to the repertoire of sacred chamber music. Rheinberger's later addition to the work of an ad libitum string orchestra takes this Suite into the world of the triple concerto and the concerto grosso, without exactly corresponding to those genres.
SKU: PR.164000430
UPC: 680160643660. 9 x 12 inches.
SKU: HL.41222
UPC: 884088298210. 17.25x11 inches.
SKU: PR.11441941S
UPC: 680160681365. 9 x 12 inches.
Detroit, for several decades, was a city where I received many important composing and performance opportunities in the early and middle part of my career. The Detroit Symphony Orchestra even commissioned my second symphony. My cantata DONE MADE MY VOW has been performed there more times than any place else. The chorus for those performances was always the outstanding BRAZEAL DENNARD CHORALE. He loved his city and was a great mentor to me. The final movement of this quintet is dedicated to his memory.
SKU: CA.2003509
ISBN 9790007033675. Key: F major. Language: German/English.
Score available separately - see item CA.2003500.
SKU: CA.3101207
ISBN 9790007102937. Key: F minor / b flat major. Language: German/English. Text: Franck, Salomo. Text: Salomo Franck.
On the 2nd March 1714 Bach, who until then had been employed as a chamber musician and organist at he Court of Duke Wilhelm Ernst in Weimar, was promoted to the position of concert master, and was instructed to relieve the ailing Kapellmeister Johann Samuel Drese by composing and performing new pieces monthly for the church. Following the cantata Himmelskonig, sei willkommen, BWV 182, the present cantate was the second work which Bach composed under the terms of his new contract. The extraordinary musical ambition evident in the first Weimar cantatas may have had its roots in the fact htat Bach aspired to become Drese's successor as Court Kapellmeister. Score available separately - see item CA.3101200.
SKU: PR.144405270
UPC: 680160584840. 8.5 x 11 inches.
Trumpet part can be performed by treble instrument - both C and B flat parts are provided. Extracted from the ninth movement of Caltabiano's Concertini (written in memory of teacher and mentor Vincent Persichetti). For advanced performers. Duration: 2' 45.
SKU: FL.FX073157
Instruments: Oboe (1 part) Violins 1 (4 parts) Violins 2 (4 parts) Violas (3 parts) Cellos (2 parts) Double Basses (2 parts); Difficuly Level: Grade 2; Duration: 2 mn 15 s; Musical Style: Classical; Category: Arrangement; Composer: Gabriel FAURE; Arranger: Eric VIRETON.
SKU: HL.14020983
This consists of five short movements. They were written for the Sunday lunchtime magazine programme, 'Not Now, I'm Listening' and were first broadcast on BBC Radio 4 on 6 November 1977. The work was first performed in concert by the Fires of London at the 1978 Edinburgh Festival.
SKU: HL.48025076
ISBN 9783793143185. UPC: 196288059745. 9.0x12.0x0.124 inches.
Composer's note: Originally a song for children about flying in ones dreams, this lyrical piece tries never to touch the ground. The work was used in the Rugby 2003 World Cup opening ceremony in a version for full orchestra. The original text by Christopher Latham refers to afanciful and exhilarating fight..
SKU: BR.OB-16104-27
ISBN 9790004339459. 10 x 12.5 inches.
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