SKU: HL.14026286
ISBN 9781844496679. 9.0x12.0x0.109 inches.
Ideal teaching material providing students with a selection of pieces enabling them to gain knowledge of many different styles of organ music. Grade 5 Associated Board Standard. Edited by C.H. Trevor.
SKU: PR.510076960
1. Choral: An improbably superimposing of Beethoven and Brahms. At the end of the first performance of the latter's 1st Symphony, someone asked the composer: Don't you find that your main theme remin ds one of the Ode to Joy? To which he retorted: Even an idiot would have noticed it! 2. Fugue: in the last exposition, the subject of Fugue I from volume 1 of Bach's Well-Tempered Keyboard is super imposed on the theme from Mozart's so-called easy sonata. 3. Passion: In his Violin Concerto, Mendelssohn, to whom we owe the rediscovery of Bach's Passions, seems to have borrowed a theme from a lost Passion. 4. Recitativo: Tribute to Franck's tribute to Bach in his Sonata for violin and piano. 5. Invention: A private revenge, after a bitter failure. Debussy's Toccata was on the compulsory list for the Conservatory piano class entrance exam. 6. Arpeggione: In which the listener realizes the similarity in the introduction to Schubert's Unfinished Symphony and Arpeggione Sonata. 7. Sarabande: The most iconoclastic, for Bach's 5th Cello Suite is already suffused with harmony. There might be an evocatioin of a Brahms-like overarching structure, though... 8. Variation: The slowest variation ever written on Paganini's 24th Caprice. 9. Scene: Schumann's Reverie as a Prelude. 10. Finale: In order to capture the elusive harmony of the Finale of Chopin's Sonate Funebre. 11. Fugue on Au clair de la lune: Our greatest nursery rhymes, fugue fitted and choralized. 12. Fugue de Noel (Christmas fugue): Quite appropriate. 13. Fugue on J'ai du bon tabac: Prohibited counterpoint. 14. Fugue on La Marseillaise: Franco-German reconciliation. 15. Pedal - Exercitium: Realization and conclusion of Bach's organ pedal exercies.
SKU: M7.DOHR-88809
ISBN 9790202098097.
On the workWritten originally for swing band in the 1970's in a work called A Minor Excursion I chose a rather bland tune for this suite. What originally brought this work alive was the improvisation and variation of the tune. Therefore this suite is a set of variations on the opening movement and I did this in homage to the original work. For me it's the following movements which make the work. The Prelude is just a simple statement of the theme with a small middle eight section which hints at the work's origin as a jazz piece. The rest of the movements grow from the opening and explores the Prelude in various ways. This is really jazz meets symphonic development. The theme can be clearly heard in all the movements but as the work reaches its conclusion the theme becomes more and more fragmented. The first performance was given on 20 November 1993 at Saint Edmund's Church, Village Way, Beckenham, Kent by the Bromley Oecumenical Singers and Orchestra, conducted by Tomas Creagh-Fuller. (Adrian Connell)Duration: 15 minutes.
SKU: IS.G6763EM
ISBN 9790365067633.
This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: HL.14007007
ISBN 9780711927094. UPC: 752187853176.
Fifty best-loved classical themes skilfully arranged for all keyboards by Daniel Scott. Includes suggested registrations and rhythms.
SKU: HP.8286CS
UPC: 763628382865. 2 Corinthians 1:3, Deuteronomy 31:6, Isaiah 50:10, Isaiah 6:1-8, Lamentations 3:23, Psalms 10:18, Psalms 104:1-35, Psalms 115:9, Psalms 119:114, Psalms 144:2, Psalms 145:9, Psalms 18:2, Psalms 28:7, Psalms 3:3, Psalms 33:21, Psalms 5.
A festive prelude This festive prelude in the Joel Raney series of piano/organ duets, with SATB choir entering at the conclusion for an optional choral introit, uses the tunes: LYONS and ITALIAN HYMN - both based on the theme of Christ the King. Both keyboard parts and a reproducible page of the text for the choir are included. An optional 3-6 octave handbell part and a full conductor's score are available separately.
SKU: HP.8286HB
UPC: 763628282868. 2 Corinthians 1:3, Deuteronomy 31:6, Isaiah 50:10, Isaiah 6:1-8, Lamentations 3:23, Psalms 10:18, Psalms 104:1-35, Psalms 115:9, Psalms 119:114, Psalms 144:2, Psalms 145:9, Psalms 18:2, Psalms 28:7, Psalms 3:3, Psalms 33:21, Psalms 5.
SKU: HL.50602288
ISBN 9781540082008. UPC: 888680992217. 9.0x11.75x0.644 inches.
Series II Orchestral Compositions, New Collected Works Volume 36: Funeral-Triumphal Prelude in Memory of the Fallen Heroes of Stalingrad. Op. 130. Symphonic Poem “Octoberâ€. Op. 131., “Novorossiisk Chimesâ€. Sans op. “Intervisionâ€. Sans op. Score.
SKU: HL.49032241
ISBN 9790001118149. 0.287 inches.
SKU: IS.G6765EM
ISBN 9790365067657.
This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: HL.49015528
ISBN 9783795753436. German. Christa Estenfeld-Kropp.
Das Besondere dieser Alt-Blockflotenschule liegt darin, dass die Sopranflote weitergefuhrt wird, anknupfend etwa an das Niveau, das am Ende von Band 2 erreicht war. Die Kinder empfinden es oft als unbefriedigend, wenn sie nach 2 Jahren Sopran-Blockfloten-Unterricht auf die Alt-Blockflote umsteigen und die Sopranflote vergessen mussen. Die Alt-Blockflotenschule liegt wieder als umfassendes Konzept vor, mit zwei Schulbanden, zwei Spielbuchern und Lehrerkommentar.Ausgezeichnet mit dem Deutschen Musikeditionspreis 1998.
SKU: HL.388205
ISBN 9781705156049. UPC: 196288025337. 5.0x5.0x0.076 inches.
This brief choral cantata is well suited for use during Holy Week as a Tenebrae observance or as a time of reflection. A musical service of shadows, Candles of Grace is filled with emotive texts and deeply expressive music portraying the events of the Passion. A thoughtful orchestration adorns this chamber cantata with refined beauty and grace, giving directors an instrumental or track option for their presentations. From the delicate opening phrases to the fragile whispered ending, this work is essential for remembering and experiencing the suffering of the Lord. Songs include: Prelude (The Shadow Falls); Bring Me to the Cross; The Garden Call; Man of Sorrows, What a Name; Jesus, Lover of My Soul; Keep Me Near the Cross; Scenes from a Solemn Cross; Epilogue. Score and Parts (pno, fl, vn 1-2, va, vc) available as a digital download. For the Accompaniment and Part Dominant Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. HL00388204: Accompaniment Tracks HL00388214: Part Dominant Tracks.
SKU: HL.388213
ISBN 9781705156063. UPC: 196288025351. 6.75x10.5x0.255 inches.
This brief choral cantata is well suited for use during Holy Week as a Tenebrae observance or as a time of reflection. A musical “service of shadows,†Candles of Grace is filled with emotive texts and deeply expressive music portraying the events of the Passion. A thoughtful orchestration adorns this chamber cantata with refined beauty and grace, giving directors an instrumental or track option for their presentations. From the delicate opening phrases to the fragile whispered ending, this work is essential for remembering and experiencing the suffering of the Lord. Songs include: Prelude (The Shadow Falls); Bring Me to the Cross; The Garden Call; Man of Sorrows, What a Name; Jesus, Lover of My Soul; Keep Me Near the Cross; Scenes from a Solemn Cross; Epilogue. Score and Parts (pno, fl, vn 1-2, va, vc) available as a digital download. For the Accompaniment and Part Dominant Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. HL00388204: Accompaniment Tracks HL00388214: Part Dominant Tracks.
SKU: IS.G6760EM
ISBN 9790365067602.
This sonata (WeissSW No. 50, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXVII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXVII is a large and mature piece, composed in Weissâ??s late period, around 1730. The Sonata has six movements: Introduzzione (an opening movement in Italian style with elements of an Allemande and Prelude), Courante, Bourrée, Sarabande, Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: HL.4008710
ISBN 9798350115758. UPC: 196288190905.
A trip to India inspired Gauthier Dupertuis to write Dystopia for double wind quintet, a composition commissioned to him by the Swiss conductor Felix Hauswirth, on the occasion of the aVENTura Festival in Lucerne in September 2023 dedicated to Swiss composers. In October 2018 Gauthier Dupertuis had the opportunity of accompanying the Wind Orchestra La Landwehr de Fribourg, (Switzerland), asan instrumentalist during a concert tour around India. Travel between the different cities was punctuated by the horns of the different vehicles on the road, which appeared to be in competition with each other in terms of their creativity. Their bus was no exception to this rule, and the composer ended up letting himself be inspired by this five-note pattern which, through repetition, ended up anchoring itself deeply in his brain, until it served as a musical basis for this work. Dystopia exploits the notion of duality: in two parts (I. Preludio and II. Toccata), the work uses the double wind quintet sometimes as a single entity and sometimes as two or three groups in constant rhythmic, harmonic, or writing contrast. Like in a dystopia, where the hero constantly struggles against an oppressive society, the thematic group linked to motif A (that of the car horns, set out at the beginning of the Prelude) confronts that linked to motif B (exposed at bar 25) throughout the piece. Similarly, the free form of the Prelude contrasts with the more defined structure of the Toccata where the atmospheres linked to the two thematic groupsalternate. Two short episodes highlight a third motif, more arioso, serving as divertissement and rhythmic appeasement within the Toccata.
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