SKU: HL.354338

ISBN 9781705107669. UPC: 840126936964. 9.0x12.0x0.109 inches.

Richard Wilson was born in Cleveland on May 15, 1941. He studied piano with Roslyn Pettibone, Egbert Fischer, and Leonard Shure, andcello with Robert Ripley and Ernst Silberstein. After beginning composition studies with Roslyn Pettibone and Howard Whittaker, he went on in 1959 to Harvard, studying with Randall Thompson, G.W. Woodworth, and principally with Robert Moevs, and graduating in 1963 magna cum laude. Awarded the Frank Huntington Beebe Award for study abroad, he continued studying piano with Friedrich Wührer in Munich, and composition, again with Moevs, in Rome, where he also gave piano recitals. Wilson joined the faculty of Vassar College in 1966. He was appointed to the Mary Conover Mellon Professorship of Music there in 1988, and he has served three times as chairman of the Department of Music. Wilson has been commissioned by the San Francisco Symphony, the American Symphony, the New Juilliard Ensemble, the Koussevitzky Foundation, the Fromm Foundation, Chamber Music America, the Chicago Chamber Musicians, the Walter W. Naumburg Foundation, and the Library of Congress. His works have been heard in such American musical centers as New York, Philadelphia, Washington, Boston, Cleveland, and Los Angeles and at the Aspen Music Festival, but also in London, Berlin, Frankfurt, Zurich, Milan, Amsterdam, Graz, Leningrad, Stockholm, Tokyo, Bogota, and a number of Australian cities. The recipient in 1992 of a Guggenheim Fellowship, he was awarded the Elise L. Stoeger Prize of the Chamber Music Society of Lincoln Center in 1994, the Academy Award from the American Academy of Arts and Letters in 2004, and has served as composer in residence with the American Symphony Orchestra since 1992. Wilson has been praised by 21st Century Music as a “splendidly talented and highly accomplished composer whose music rewards seeking out” and by the New York Sun as “possessed of a hard-won idiom that has grown and developed over the years into a probing blend of wit, classic form, modern harmony, and impressionistic color.” Writing in the New Yorker, Andrew Porter called his String Quartet No. 3 a “richly wrought and unusual composition,” while the New York Times called it “a work of substance and expressivity ... [that] merits a place in the active repertory.”.

SKU: HL.49047270

The names of George Gershwin (1898-1937) and Ira Gershwin (1896-1983) are synonymous across the globe with American musical creativity. The Gershwin family estates, their publishers, and the University of Michigan have joined forces to produce The George and Ira Gershwin Critical EditionÂ?the first-ever scholarly edition of the Gershwins' music and lyrics. This all-new practical edition facilitates both study and performance, giving a wide audience of musicians, scholars, students, and enthusiasts alike greater insight into the Gershwins' art. The goal is to create clear and definitive publications that achieve the most accurate representations possible of the Gershwin brothers' unique and pioneering creativity. This all-new critical edition of the original 1924 arrangement of George Gershwin's Rhapsody in Blue presents an authoritative transcription of arranger Ferde Grofé's handwritten holograph score preserved in the collection of the United States Library of Congress in Washington, DC. The edition represents as best as possible the piece as premiered by the Paul Whiteman Orchestra at his â??Experiment in Modern Musicâ? concert on February 12, 1924. Grofé prepared the score for the specific talents and timbres of the Whiteman Orchestra, largely from an ink fair copy of Gershwin's two-piano short-score manuscript. Gershwin continued to modify the piano solo portion of this short score during rehearsals and, most likely, even after the premiere of the piece.

SKU: OT.26114

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

SKU: FZ.5877

ISBN 9790230658775. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in two books. ANCELET - Abbe Joseph CARPENTIER (1-2) - Francisque CORBETTA - Michel CORRETTE - Robert DE VISEE - Nicolas DEROSIERS - DON*** - Encyclopedie - Francois-Alexandre-Pierre de GARSAULT - Francois LECOCQ - Joseph-Bernard MERCHI (1) - Marin MERSENNE - Pierre TRICHET. Table of contents: Mersenne Marin: Harmonie Universelle - 1636. Trichet Pierre: Traite des instruments - c. 1640. Corbetta Francisque: La guitarre royale - 1671. De Visee Robert: Livre de guitarre - 1682. Derosiers Nicolas: Les principes de guitarre - c. 1690. Le Cocq Francois: Recueil des pieces de guitare - 1729. Encyclopedie: Encyclopedie ou Dictionnaire raisonne des sciences - 1751/1772. Ancelet: Observations sur la musique - 1757. Don***: Methode pour apprendre a jouer - 1760. Garsault Francois-Alexandre-Pierre de: Notionnaire ou memorial raisonne - 1761. Merchi Joseph-Bernard: Le guide des ecoliers - c. 1761. Corrette Michel: Les dons d'Apollon - 1762. Carpentier Joseph: Methode pour apprendre, 1e partie - 1771. Carpentier Joseph: Methode pour apprendre, 2e partie - 1773. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - National Library of Paris (France). - Sainte Genevieve Library of Paris (France). - British Library of London (England). - Nederlands Muziek Instituut of the Hague(Netherlands). - Royal Conservatory Library of Brussels (Belgium). - Library of Congress of Washington (USA). - Bayerische Staatsbibliothek of Munich (Germany). - In Private collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the guitar.

SKU: GI.G-171029

ISBN 9781574631364. UPC: 888680625788.

The second edition of the second volume of this series which provides band directors with a ready-made curriculum developed to incorporate comprehensive-musicianship training through quality band literature features Second Suite in F by Gustav Holst, Chester Overture for Band by William Schuman, and George Washington Bridge also by William Schuman. Every unit study integrates technical skills, musical knowledge and creative projects that lead student musicians to an enlightened and expressive performance. Student workbooks for each of the featured works may be downloaded. Each unit study includes: · Ear training · Rhythm studies · Essential skills information for teaching the compositional elements of music · Rehearsal strategies for addressing common ensemble issues · Creative projects · Active listening activities · Sample teaching schedule · Unit quiz (and answer sheet) · Student practice plan · Optional band projects.

SKU: HL.35009229

UPC: 888680940713. 8.5x11.0x0.064 inches.

Chosen as the 2009 recipient of the George Washington Medal of Honor awarded by the Freedoms Foundation of Valley Forge, this composition is the only musical setting of the inscription on the Tomb of the Unknot Soldier in Arlington Cemetery. Here Rests in Honored Glory exemplifies the essence of the National Awards by promoting an understanding and appreciation for our country's rich heritage and unique freedoms. Beginning in 2010, according to the Curator of the Normandy France Museum, a CD of the work is played each June 6th in honor of D-Day. On December 28, 2018, Governor Andrew Cuomo signed into law a bill making Here Rests in Honored Glory the Official New York State Hymn of Remembrance for all American Veterans.

SKU: UT.BCE-8

ISBN 9790215325388. 9 x 12 inches.

The Quintets nos. 1-7, 9 and the 12 Variazioni sulla Ritirata di Madrid, for guitar and string quartet, are not listed in Boccherini’s autograph catalogues, nor in the Catalogo Boccherini y Calonje, nor in the Catalogue Baillot. However they are mentioned in the Catalogue Picquot, and they have come down to us through three non-autograph manuscripts and three unauthorized printed editions of the early twentieth century. The documentary evidence establishes their authorship, their dating and the relevant musical source, as the single movements for the most part are transcriptions of compositions for other instrumental settings.

The primary source of the Quintets 1-6 is ms. Wc, Washington (DC), Library of Congress, Ms. M. 574. B Case, olim M. 572. B65 Case [RISM A/II: deest]. Written in Madrid in 1811 by François de Fossa, it derives from a copy prepared by Boccherini for the commissioner of the pieces, Francisco Borja de Riquer y de Ros, marquis of Benavent, an amateur guitarist and patron of Boccherini from 1796.

The primary source of the Quintets 7, 9 and the 12 Variazioni sulla Ritirata di Madrid is ms. L520, a codex comprising 5 volumes, dating from the first half of the nineteenth century, certainly assembled at Bar-Le-Duc, the residence of Louis Picquot from 1832 to 1853, who probably was the commissioner and first owner. Upon Picquot’s death, the codex was sold at auction in 1904 by the Berlin antiquarian Leo Liepmannssohn as lot 520. In 1911 it was acquired by the Gitarristische Vereinigung of Munich. During the twentieth century this institution dissolved, and the ex lot 520 passed into anonymous private hands. Rediscovered and examined in 2010 by Andreas Stevens and Fulvia Morabito, the codex was acquired by the Bayerische Staatsbibliothek in Munich.