SKU: SU.32040150
From delightful to lonesome to fiery, this three movement suite invites both performers and listeners to share the joy of being enveloped in richness of tone, creating poignant expressions of the heart. Marvelous recital and concert music. Vignette I: Delightful Dance Jaunty rhythms and clever surprises render a joyful opening section. Later, a warm, love filled melody is poured out by each instrumentalist, and climbs to a glorious tutti. Then it is back to the joyful dance, a few more surprises, and a delightfully happy ending. Vignette II: Lonesome Chaconne opens with two dark chords. Then the piano begins the chaconne with a mournful bass line and plaintive off beats. The viola enters and plays a lonesome melody, then is joined by the cello in a melancholy duet over the chaconne until it dies away. The cello's brief recitative emerges from the depths into an aching cry that is then echoed by the viola. Joining together, they pour out a fervent melody, moving higher and higher until they breakthrough to the light. Alas, the vision fades, and they return to only fragments as the chaconne disappears. Vignette III: Fiery Fugue opens with a feisty subject melody, first in the viola, followed by the cello, piano right hand, and left hand. It is similar in form to a Bach fugue, but uses modal tonality and syncopated rhythms. The statements and episodes build to a recall of the fervent melody from the second movement, leading to the final dynamic unison statement of the fugue subject. Just as it almost dies away, it recharges and boldly bounds ahead to the end. Difficulty Level: 5 (Advanced) Viola, Cello, Piano Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC See composer website for audio sample.
SKU: SU.47000291
Violin, Violoncello, Piano & Voice Composed: 2011 Published by: Ben Rena Music.
SKU: BA.BA08731
ISBN 9790006506194. 30 x 23 cm inches. Key: E-flat major.
This scholarly-critical volume is the first published edition of Meyerbeer's Clarinet Quintet, which vanished in World War ll and only recently resurfaced in the estate of the clarinetist Carl Bärmann. Meyerbeer wrote the piece in Vienna in 1813 for his friend Heinrich Bärmann, a celebrated clarinettist to whom C. M. von Weber also dedicated several works. The extremely novel and virtuoso handling of the clarinet was unusual for its day: Meyerbeer allows it to stand out clearly from the string ensemble and pushes it to the utmost limits of its technique. The Work enriched the meager chamber music repertoire for the clarinet in the 19th century. Our scholarly-critical edition makes this masterpiece available to performers for the first time in print. Besides the musical text, it offers a critical report and a detailed preface discussing the work's genesis. The parts have been given performance markings by Dieter Klöcker.
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: HL.49003135
ISBN 9780946535132. UPC: 884088991623. 8.25x11.75x0.436 inches. English.
This anthology of 72 music examples, consisting of the Teacher's Manual, Pupil's Questions, Music Book and two recordings on CD or cassettes, is intended to provide comprehensive resource materials for the listening component of the GCSE music syllabuses. The extracts have been selected especially to illustrate the periods, styles and rudiments of music encompassed within the syllabuses, and the four components of the publication produced to ensure maximum assistance to the teacher in the classroom. Selected contents: MUSIC IN THE LATE RENAISSANCE O quam gloriosum est regnum * T. Morley: MUSIC IN THE BAROQUE ERA: H. Purcell: Hark, each tree (from Ode for St Cecilia's Day) * A. Vivaldi: Second Allegro (from Op. 3 No. 11) * G.F. Handel: Lascia ch'io * J.S. Bach: Erschienen ist der herrliche Tag (BWV 629) * F. Couperin: Le Petit-Rein MUSIC IN THE ROMANTIC PERIOD: F. Schubert: Am Meer (from Schwanengesang) * H. Berlioz: Un Bal (from Symphonie fantastique) * F. Chopin: Mazurka (Op. 7 No. 5) * R. Schumann: Fantasiestuck (Op. 73 No. 1) * R. Wagner: Prelude (to Tristan and Isolde) * R. Strauss: Epilog (from Till Eulenspiegels lustige Streiche) * MUSIC IN THE TWENTIETH CENTURY: B. Bartok: Third movement (from Sonata for two Pianos and Percussion) * K. Stockhausen: Zyklus * C. Berberian: Stripsody * JAZZ AND POP: F. Molton: Peace in the Valley * Bix Beiderbecke and his Gang: Jazz Me Blues * The Platters: Only You * E. Fitzgerald: Mack the Knife * S. Getz and A. Gilberto: The Girl From Ipanema and more.
SKU: SU.28090110
Flute/Alto Flute, Violin, Viola, Violoncello Duration: 17'30 Composed: 2020 Published by: Distributed Composer.
SKU: PR.16400261S
UPC: 680160038411.
Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.
SKU: AP.48726
ISBN 9781470644161. UPC: 038081560373. English.
Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This CD of the Suzuki violin method, Volume 2 features recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Study Points for Volume 2 * Chorus from Judas Maccabaeus (Handel) * Musette, Gavotte II or the Musette from English Suite III in G Minor for Klavier, BWV 808 (Bach) * Hunters' Chorus from 3rd Act of the Opera Der Freischutz (Weber) * Long, Long Ago (Bayly) * Waltz, Op. 39, No. 15 for Piano (Brahms) * Bourrée from Sonata in F Major for Oboe, HHA IV/18, No. 8 (Handel) * The Two Grenadiers, Die beiden Grenadier, Op. 49, No. 1 for Voice and Piano (Schumann) * Theme from Witches' Dance (Paganini) * Gavotte from Mignon (Thomas) * Gavotte (Lully) * Minuet in G, Wo0 10, No. 2 (Beethoven) * Minuet from Sei Quintetti per Archi No. 11, Op. 11, No. 5 in E Major (Boccherini). This title is available in MakeMusic Cloud.
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: YM.GPW01096341
ISBN 9784636963410.
24 arrangements for two violins. 24Shou Xiao Ti Qin Er Zhong Zou Le Qu . 1. Beauty and the Beast; 2. A Whole New World; 3. Chim Chim Cher-ee; 4. Shall We Dance?; 5. Edelweiss; 6. Climb Ev'ry Mountain; 7. Over the Rainbow; 8. Day of the River; 9. Piano Quintet Die Forelle/Schubert; 10. Je te veux/Satie; 11. Merry Widow Waltz/Lehar; 12. Waltz from The Sleeping Beauty/Tchaikovsky; 13. Home Sweet Home/Bishof; 14. Heidenroslein/Werner; 15. Largo from The New World Symphony/Dvorak; 16. Humoresque/Dvorak; 17. Ave Maria/J. S. Bach-Gounod; 18. Summertime/Gershwin; 19. Requiem KV 626/Mozart; 20. Aura Lee; 21. Greensleeves; 22. Deck the Halls; 23. Old Folks at Home/Foster; 24. We Wish You a Merry Christmas 1. Mei Nu Yu Ye Shou ; 2. Xin De Shi Jie ; 3. Yan Cong Zhi Ge ; 4. Shall We Dance?; 5. Xue Rong Hua ; 6. Pan Yue Qun Shan ; 7. Cai Hong Zhi Shang ; 8. Na Yi Tian De He Chuan ; 9. Gang Qin Wu Zhong Zou Zun Yu /Shu Bo Te ; 10. Wo Xu Yao Ni /Sa Di ; 11. Feng Liu Gua Fu Yuan Wu Qu /Lai Ha Er ; 12. Yuan Wu Qu Xuan Zi Shui Mei Ren /Chai Ke Fu Si Ji ; 13. Jia ,Tian Mi De Jia /Bishof; 14. Ye Mei Gui /Werner; 15. Yan Ban Xuan Zi Xin Da Lu Jiao Xiang Qu /De Wo Xia Ke ; 16. You Mo Qu /De Wo Xia Ke ; 17. Sheng Mu Song /Ba He ; 18. Xia Tian /Ge Shi Wen ; 19. An Hun Qu KV 626/Mo Zha Te ; 20. Ao Le Li ; 21. Lu Xiu Zi ; 22. Huan Le Sheng Dan ; 23. Gu Xiang De Qin Ren /Foster; 24. Zhu Ni Sheng Dan Kuai Le.
SKU: UM.17296
ISBN 9790224417296.
SKU: PR.144402120
UPC: 680160027040.
SKU: UM.13588
ISBN 9790224413588. A4 inches.
SKU: HL.44012553
UPC: 888680087135.
Strings, double wind quintet, bass.
SKU: HL.44012563
UPC: 888680087234.
Strings, double wind quintet, bass. Op. 6.
SKU: HL.14037632
ISBN 9788759818244. UPC: 884088562045. 10.25x13 inches.
Contents: CHAMBER MUSIC: Polka for Violin; Duet for Violins; Romance for Violin and Piano in G Major; Romance for Violin and Piano in D Major; Sonata for Violin and Piano; Fantasy for Clarinet and Piano; Trio for Violin, Cello and Piano; Quartet for Two Violins, Viola and Cello in D Minor; Movement for Two Violins, Viola and Cello in F Major (Add. 9); Movement for Two Violins, Viola and Cello in F Major (Add. 10); Movement for Two Violins, Viola and Cello in F Major (Add. 11); Movement for Two Violins, Viola and Cello in G Minor; Movement for Two Violins, Viola and Cello in F Sharp Minor; Movement for Two Violins, Viola and Cello in B Flat Major; Trauermarsch for Two Violins, Viola and Cello. PIANO PIECES: Two Character Pieces; Norwegian Folk Dance; Andante; Piano Piece; Peasant Dance; Allegretto; Add. 22; Minuet; Add. 24; Andantino; Add. 26; A Little Piano Piece. CANTATA: Cantata for The Commemoration Of P.S. Krøyer. ARRANGEMENTS: Prelude to 'Snefrid' for Piano; 'Snefrid' for Recitation and Piano Quintet; 'Elves' Dance' From 'Sir Oluf He Rides ''; 'Dance of the Handmaidens' from 'Hagbarth and Signe' for Piano; 'Canto Serioso' for Cello and Piano; Dances from 'Aladdin'for Piano; Excerpts from 'The Mother' for Piano; 'A Fair And Lovely Land' for Brass; Cantata for The Centenary of The Polytechnic College for Reciter, Male Choir, Strings and Piano; Counterpoint Exercises; Two Part Fugue (Add. 38); Two Part Fugue (Add. 39); Three-part Fugue (Add. 40); Three-part Fugue (Add. 41); Three-part Fugue (Add. 42); Three-part Fugue (Add. 43); Three-part Fugue (Add. 44). APPENDIX: Greeting; Gade; Denmark!; Welcome to 20 Della Grazia, Little Marie!; The Shepherd's Melody.
SKU: HL.44012552
ISBN 9789043148184. UPC: 888680087128.
Strings, double wind quintet, bass. Op 22.
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