SKU: M7.GHE-803

ISBN 9783890448039. English.

This new critical edition by leading guitar researcher Erik Stenstadvold contains thematic indexes, comprehensive critical commentaries based on sound and transparent editorial practice, copious historical notes, publishing history, and some previously unpublished repertoire. It has been thoroughly researched and is produced to the highest standards.

SKU: BU.EBR-A066

ISBN 9790560151496. 8.58 x 12.48 inches.

La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.

Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.

Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.



Composé entre 1830 et 1831, ce Nocturne en mi bémol majeur de Frédéric Chopin est le morceau favori de tous les jeunes pianistes. Son charme mélodique, sa simplicité strophique, sa brièveté et sa relative facilité d’exécution l’ont rendu célèbre à travers le monde. Chopin y adopte le ton de la confidence et développe le thème principal de manière fort expressive, sans renier ses influences directement issues de l’art du bel canto. Ce thème subira trois variations ornementales, entrecoupées de ritournelles de transition. La coda, très prenante, apporte le climax émotionnel de l’œuvre avant de glisser lentement vers un pianissimo à la fois doux et serein.

SKU: CF.CAS112

ISBN 9781491151310. UPC: 680160908813. 9 x 12 inches. Key: E minor.

Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018.
Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: BR.KM-2234

World premiere: Rottenburg am Neckar, February 1, 1987

ISBN 9790004501382. 9 x 12 inches.

Ein kurzweiliges, kontrastreiches Opus, angeregt durch das Rascher-Quartett, dem es auch gewidmet ist; keine experimentelle, aber instrumentengerechte, neue Musik, auf die Spiel- und Ausdrucksmoglichkeiten sowie auf den spezifischen Klang eines technisch und musikalisch anspruchsvollen Saxophon-Ensembles bezogen (Sopran - Alt- Tenor - Bariton)Funf suitenformig locker aneinander gereihte Satze (Funf ,,Blatter) werden durch ein dodekaphonisches Leitmotiv verknupft, das zu Anfang eines jeden Satzes erklingt.Im Circulo ostinato bestimmt diese Figur entscheidend den Verlauf des Stuckes; zu Beginn des Finales verdichtet sie sich zum vierstimmigen Kanon. Ostinate und rhythmische Formeln pragen den Charakter des ganzen Werkes.Allegro ruzzone (Ubermut)Ein knappes lebhaftes Eingangsstuck; auf dem Hohepunkt erscheint, wie ein Atemholen, ein melodisch-ausdrucksvoller Gedanke, der sich imitatorisch im Kreise dreht, ehe eine kurze Stretta in schnellem Tempo zum Pianissimoschluss fuhrt.Circulo ostinato (Kreisende Wiederholung) (Andante con moto)Der Mittelteil des Satzes entwickelt sich aus gestauten Tonwiederholungen und den melodischen Flosklen des Urthemas in immer neuen Anlaufen zu grosser Steigerung. Am Anfang und Ende steht ein mehrstimmiger Kanon, der um eine abwarts gerichtete chromatische Tonfolge kreist.Ballo estatico (,,Entfesselter Tanz) (Allegro molto)In diesem Satz dominieren rhythmisch tanzerische und aggressive Elemente; drei verschiedene Episoden entfalten sich uber ostinaten Bassbewegungen, die letzte gerat zur ,,freien Variation uber Debussys (,,Golliwoggs cake walk aus den ,,Children's Corner).Sogno solitario (Einsamer Traum) (Andante)Der ,,langsame Satz des Quartetts wachst aus rezitativischem Beginn, uber einen ausdrucksvollen Mittelteil (mit engraumiger Melodik) bis zu einer ausgedehnten Trillerflache und dichten, abwarts sturzenden chromatischen Figuren (Quintolen), kehrt uber einen ruhigen Abschnitt (in tiefer Lage) zum Rezitativ zuruck, klingt verhalten aus.Fugato scherzando (Allegro molto)Ein virtuos humorvolles Finale, nach dem einleitenden vierstimmigen ,,Kreisel-Kanon des Leitmotivs entwickelt sich aus einem skurrilen Thema eine rhythmisch vertrackte Fuge, unterbrochen von einem trioahnlichen Intermezzo und wirkungsvoll turbulent zum befreienden Schluss gesteigert.(Jurg Baur)Bibliography:Gudelhofer, Matthias: Jurg Baur. Die spate Kammermusik, Koln: Dohr 2002.

World premiere: Rottenburg am Neckar, February 1, 1987.

SKU: HL.4006635

UPC: 840126925371. 9.0x12.0x0.063 inches.

The poignant lament “Mo Chile Mear” (My Gallant Hero) was authored after the defeat of the Scots and their Celtic allies at the Battle of Culloden in 1746, ending dreams of independence from English rule. Michael's emotional setting opens with a flute solo then builds gradually as layers of instrumental groups are added. The piece shifts to a lilting 6/8 style, propelled by the percussion section, and culminates in a majestic statement by the entire ensemble.