SKU: BR.PB-5524
ISBN 9790004212134. 6.5 x 9 inches.
Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources. In his preface, Monnard examines Ravel's sound aesthetics against the background of concert reception and historical recordings. Moreover, he also provides insights into Ravel's ideas concerning the tempo: ,,I must say that the Bolero is rarely conducted the way I think it should. Mengelberg speeds up and slows down excessively. Toscanini takes it twice as fast as it should be and broadens the tempo at the close, which is indicated nowhere. No: the Bolero should be played in one single tempo from the beginning to the end, in the plaintive and monotonous style of Spanish-Arabian melodies. The performance material to Ravel's Bolero can now also be purchased in its entirety for the first time.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.
SKU: GI.G-10760
ISBN 9781622776979.
Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education? These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world. Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings. At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness. Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music” label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum. An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, Realizing Diversity considers the many separate but deeply interrelated questions related to creating a more socially just music education. Karen Howard is a frequent presenter working with teachers and presenting research related to creating a more socially just world of music education. She is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota. She teaches undergraduate and graduate courses related to children’s music, sociology of education, research methods, ethnomusicology, and matters of diversity.
SKU: MB.21123M
ISBN 9780786695256. 8.75 x 11.75 inches.
This book, which includes 308 tune transcriptions, is organized around individual fiddlers who typically combine Appalachian-style fiddling with rags, pop standards, Midwest-style fiddling and sometimes a touch of Western swing to create a style often identifiable as Ozarks. Thirty Ozarks fiddlers and their lives are highlighted with biographical sketches, photographs, and tune histories. Another 50 great Ozarks fiddlers are presented in a similar manner but with less detail. The book and accompanying audio with 37 tunes, many recorded in the field emphasize the older fiddling traditions connected to the square dances and community events more than those connected to bluegrass music and modern contest fiddling. Some of the tunes in the collection are old standbys such as Bile Them Cabbage while others such as Finley Creek Blues are unique to the region. The book is the result of years of work by two respected researchers. Gordon McCann won the prestigious Missouri Arts Award in 2002 for his decades of work documenting, studying, and accompanying Ozarks fiddle music. Drew Beisswenger, a music librarian at Missouri State University with a Ph.D. in ethnomusicology, has published three other works about fiddle music and is known for his strong transcription and analysis skills. Includes access to online audio.
SKU: UT.CH-111
ISBN 9790215316317. 9 x 12 inches.
The three original pieces for guitar Notturno, Napolitana (popolar songs) and Roma (March for guitar), together with three transcriptions, are included in a manuscript of 36 pages, noting in the frontispiece “Transcriptions and compositions of F. Balilla Pratella sent as a tribute to M.R. Brondi (1920)”.These compositions follow a traditional language, and, in the tonality and the alternating themes, are an expression of Pratella’s folkloric vein, with cantabile and melancholy melodies, with the exception of the march, that show some echoes of the nineteenth century guitar masters’ way of composing.There is a characteristic use of the quartine with no alternated thumb forefinger tremolo, that immediately recalls the plectrum orchestra so much used by Pratella in his youth.The discovery of these pieces – which happened accidentally and saved them from certain destruction – contributes to enhance that period of great guitarist turmoil preceding Segovia, establishing itself at the beginning of twentieth century in Italy with three compositions from an author that, along with the Bonaccorsi and Colacicchi, anticipated that current – already initiated by the Fara, Gabriel, Caravaglios – which was, in the following decades, to go by the name of ethnomusicology.
SKU: CA.2431500
ISBN 9790007101633. Language: German.
A publication of the Max Reger Institute.
SKU: BR.OB-5560-30
Critical Edition with the original English text by Charles Jennens as well as the German translation by Johann Gottfried Herder, including a comprehensive historical and musicological preface and detailed critical commentary.
Have a look int. Oratorio/passion; Baroque. Set of parts. 134 pages. Duration 120'. Breitkopf and Haertel #OB 5560-30. Published by Breitkopf and Haertel (BR.OB-5560-30).
ISBN 9790004344163. 10 x 12.5 inches.
Messiah 1741 - new light on Handel's masterpieceThe focus of this new edition is the Messiah as first conceived by the composer in 1741: before its first performance in Dublin in 1742, before the first London performances of the mid 1740s, before the final Foundling Hospital performances in the late 1750s. The editor succeeds in creating a 21st-century edition from the perspective of 1741, making clear that Messiah was a genius hit from the start.Messiah 1741 - the first and only complete edition of Handel's autograph scoreThorough information on Handel's performance practice in 1741 (including topics such as orchestration, continuo, text underlay and specific questions on interpretation)It offers a reconstruction of the wind parts according to contemporary sourcesPiano vocal score with contemporary vocal ornamentationFirst edition including the German text by Herder - a monument of the German enlightenment - which is contentwise and phonetically closer to Jennens' text than any other translation, therefore being a perfect singable alternativeThe appendix contains additionally the most popular and important aria versions composed after 1741 for practical reasons.Throughout this new edition, creative yet pragmatic scholarship shines through, and the Preface and Critical Report are thorough and unusually fascinating. ... I'm very happy to own the full score, and if I were starting out now, I'd invest in the whole kit and caboodle.(Jeremy Summerly, Choir & Organ)Critical Edition with the original English text by Charles Jennens as well as the German translation by Johann Gottfried Herder, including a comprehensive historical and musicological preface and detailed critical commentary.
SKU: BR.OB-5560-26
Have a look int. Oratorio/passion; Baroque. Part. 60 pages. Duration 120'. Breitkopf and Haertel #OB 5560-26. Published by Breitkopf and Haertel (BR.OB-5560-26).
ISBN 9790004344156. 10 x 12.5 inches.
SKU: BR.EB-8450
ISBN 9790004184936. 7.5 x 10.5 inches.
Messiah 1741 - new light on Handel's masterpiece The focus of this new edition is the Messiah as first conceived by the composer in 1741: before its first performance in Dublin in 1742, before the first London performances of the mid 1740s, before the final Foundling Hospital performances in the late 1750s. The editor succeeds in creating a 21st-century edition from the perspective of 1741, making clear that Messiah was a genius hit from the start. Messiah 1741 - the first and only complete edition of Handel's autograph score Thorough information on Handel's performance practice in 1741 (including topics such as orchestration, continuo, text underlay and specific questions on interpretation) It offers a reconstruction of the wind parts according to contemporary sources Piano vocal score with contemporary vocal ornamentation First edition including the German text by Herder - a monument of the German enlightenment - which is contentwise and phonetically closer to Jennens' text than any other translation, therefore being a perfect singable alternative The appendix contains additionally the most popular and important aria versions composed after 1741 for practical reasons. Throughout this new edition, creative yet pragmatic scholarship shines through, and the Preface and Critical Report are thorough and unusually fascinating. ... I'm very happy to own the full score, and if I were starting out now, I'd invest in the whole kit and caboodle. (Jeremy Summerly, Choir & Organ)Critical Edition with the original English text by Charles Jennens as well as the German translation by Johann Gottfried Herder, including a comprehensive historical and musicological preface and detailed critical commentary.
SKU: CA.2420600
Language: German.
The surviving output of Johann Ernst Bach (1722-1777) has now been documented for the first time in a scholarly Catalogue of Works. The detailed descriptions of the sources and music incipits, plus information about the history of the work and texts enable all those interested to gain an insight into this composer's output, which is well worth discovering. Published in collaboration with the Research Project of the Saxon Academy of Sciences in Leipzig, located at the Bach Archive Leipzig.
SKU: CA.3594100
ISBN 9790007103545. Language: German.
A guide by the the Lutheran Liturgical Conference of Germany for the correct use of Bach's sacred cantatas.
SKU: BR.OB-5209-16
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'
ISBN 9790004330715. 10 x 12.5 inches.
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'.
SKU: CA.2431900
ISBN 9790007101671. Language: German.
SKU: CA.3594000
ISBN 9790007103538. Language: German.
SKU: CA.2432300
ISBN 9790007101718. Language: German.
SKU: BR.CHB-5252-02
ISBN 9790004411681. 7.5 x 10.5 inches.
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II.
SKU: CA.2400800
ISBN 9790007101145. Language: German.
SKU: CA.2431000
ISBN 9790007101589. Language: German.
SKU: CA.2402920
Text language: German.
Christoph Graupner (1683-1760) is one of the many composers who laid the groundwork for their careers as pupils at the St. Thomas school in Leipzig. After subsequently studying law in Leipzig he was initially employed as a harpsichordist at the Hamburg Opera, which was followed by his appointment to the position of Kapellmeister at the court of Darmstadt. He was selected for the position of Thomaskantor in 1723, but his patron in Darmstadt refused to release him. Graupner's more than 1,400 cantatas occupy a central position in the history of the Protestant church cantata. Here, for the first time, in this six-volume thematic catalog his entire opus is presented and elucidated by means of detailed incipits for each movement of each work, including all of the relevant information, such as scoring, history of the sources, dating and origin of the text. This Graupner catalog is also an indispensable reference work for understanding the music of the Bach era. Score available separately - see item CA.2402900.
SKU: BA.BA04558-01
ISBN 9790006450619. 33 x 26 cm inches.
The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time, it also serves as an aid to authentic performances.The principal Series I to IX, containing Mozart's actual oeuvre, appeared between 1956 and 1991. They are regarded as a supreme achievement of Mozart scholarship in our time; modern performances of Mozart's music are unthinkable without them. The important supplementary volumes shed fresh and illuminating light on neglected aspects of Mozart's creative work, such as his activities as a teacher or as an arranger of other composer's works.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CA.2401600
ISBN 9790007059675. Language: German.
Analysis of the entire work with many musical examples.
SKU: CA.2420400
No musical family has made such a significant contribution to the history of European music as the Bach family from Thuringia, in Saxony. From the 17th through 19th centuries one finds outstanding musicians among the family who participated in all levels of musical life whether it be town, court or church music - their works span all genres of vocal and instrumental music and reflect the stylistic developments of the individual eras in which they lived. Within the framework of the Bach-Repertorium research project at the Sachsische Akademie der Wissenschaften zu Leipzig, thematic catalogs are being compiled for all members of the Bach family. With catalogs which include incipits, texts, tables and indexes, the compositions will be described using a unified set of criteria and they will be based on the latest musicological research. To distinguish him from his brothers, in the 18th century Johann Christoph Friedrich Bach was known as the Buckeburger Bach. His extensive opus encompasses all genres of instrumental and vocal music. Systematic research has led to the rediscovery of a number of works previously believed to have been lost, as well as to works which until now have been completely unknown; furthermore the existence of other lost works also has been verified. Thus today, for the first time an overview of the creative output of the second youngest Bach son is possible, which now occupies its own independent position in the history of 18th century music.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: CA.2412400
SKU: CA.2407100
ISBN 9790007166991. Language: German.
SKU: CA.2430320
ISBN 9790007101497. Language: German.
SKU: BA.BA09071-91
ISBN 9790006565467. 27 x 19 cm inches. Text Language: German, English.
Felix Mendelssohn Bartholdy completed his first oratorio - St. Paul , op. 36 - in 1836, at the age of twenty-seven.The first version, which was premiered on 22 May 1836, was then extensively revised by the composer. This second version, which at the same time served as the basis for the published version, was premiered as early as October that year in Birmingham . The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score, Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner, who later denigrated Mendelssohn, was full of admiration. Today, St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio, edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work, the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work, but also, with the complete performing material, into the performance of the original version. The appendices (first version) which appear in the full score and vocal score are not contained in this choral score.The full score and vocal score include the German and English texts of the oratorio.The vocal score is by Mendelssohn.- Urtext edition, representing the latest musicological research- Vocal texts in German and English- Supplements the already existing material available to this work
SKU: CA.2430100
ISBN 9790007101473. Language: German.
Publication of the Max Reger Institute and the Elsa Reger Foundation, Bonn, Volume 4.
SKU: CA.2405700
ISBN 9790007101299. Language: German.
SKU: CA.2431800
ISBN 9790007101664. Language: German.
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