SKU: SP.ME1033
ISBN 9781585607457.
The Masterpiece Edition series, published exclusively by Santorella Publications, is a collection of original piano works, as well as challenging arrangements and transcriptions designed for the experienced to advanced pianist. The series is meticulously engraved and printed on heavy cover stock and quality paper to last for generations. With original works from the great masters, Bach, Beethoven, Mozart, and alike, as well as arrangements and transcriptions from some of the greatest works of all time, these Masterpiece Editions are sure to be popular favorites while enhancing the repertoire of most any serious pianist. In this case, we are extremely proud to release the original, unedited, Masterpiece Edition of Joplin's Solace, Entertainer and Maple Leaf Rag as a 3 in 1 sheet in its purest form. Our ultimate goal is to emphasize the necessity of exceptional quality in printed sheet music. Time has heard the strains of a myriad of musical styles. Some styles liven with age while others fade. The same is true of the composers themselves; some are regarded as brilliant masters from the beginning of their lives while others are praised only posthumously. Endurance is the ultimate test. Scott Joplin endured great injustices and criticism, yet he remains the King of Ragtime. We remember the genius of Scott Joplin by publishing Solace, The Entertainer, and Maple Leaf Rag in a remarkable 3 in 1 original edition. Joplin's most popular rag, The Entertainer reached high acclaim in 1973 as a recognizable theme from the film classic, The Sting. This Academy Award-Winning film was solely responsible for the resurgence of ragtime in general, but more specifically brought renewed interest in the works of Scott Joplin. Solace was frequently heard in the background of many scenes in which the character was deep in thought. Subtitled, A Mexican Serenade, Solace has a serene Latin feel, unlike no other samba written and is the favorite of many Joplin enthusiasts. While the Maple Leaf Rag, actually became quite popular during Joplin's lifetime, so much so that it was the first printed sheet of music to sell over one million copies. We are pleased to combine these three original rags in one sheet as a special part of our Masterpiece Ragtime Selections. These newly engraved editions are clean, sharp, distinct, and accurate. An absolute pleasure to read as each crisp note seems to pop off the page.
SKU: SP.ME1032
ISBN 9781585607440.
The Masterpiece Edition series, published exclusively by Santorella Publications, is a collection of original piano works, as well as challenging arrangements and transcriptions designed for the experienced to advanced pianist. The series is meticulously engraved and printed on heavy cover stock and quality paper to last for generations. With original works from the great masters, Bach, Beethoven, Mozart, and alike, as well as arrangements and transcriptions from some of the greatest works of all time, these Masterpiece Editions are sure to be popular favorites while enhancing the repertoire of most any serious pianist. In this case, we are extremely proud to release the original, unedited, Masterpiece Edition of Joplin's Entertainer and Maple Leaf Rag as a 2 in 1 sheet in its purest form. Our ultimate goal is to emphasize the necessity of exceptional quality in printed sheet music. Time has heard the strains of a myriad of musical styles. Some styles liven with age while others fade. The same is true of the composers themselves; some are regarded as brilliant masters from the beginning of their lives while others are praised only posthumously. Endurance is the ultimate test. Scott Joplin endured great injustices and criticism, yet he remains the King of Ragtime. We remember the genius of Scott Joplin by publishing The Entertainer and Maple Leaf Rag in this 2 in 1 original edition. Joplin's most popular rag, The Entertainer reached high acclaim in 1973 as a recognizable theme from the film classic, The Sting. This Academy Award-Winning film was solely responsible for the resurgence of ragtime in general, but more specifically brought renewed interest in the works of Scott Joplin. The Maple Leaf Rag, unlike so many others, became quite popular during Joplin's lifetime, so much so that it was the first sheet of music to sell over one million copies. We are pleased to combine these two rags in one as a special part of our Masterpiece Ragtime Selections. This newly engraved edition is clean, sharp, distinct, and accurate. An absolute pleasure to read as each crisp note seems to pop off the page.
SKU: PR.465000020
ISBN 9781598060102. UPC: 680160493869. Key: C major.
Welcher has created a wholly-Celtic masterpiece in Minstrels of the Kells. Citing a good number of Irish classics, he covers the duality of the music - the soul-searing angst and mournfulness, and the toe-tapping reels and jigs that we know and love. This is a marvelous concert piece that was commissioned by the Big Twelve Band Directors Association. (An interesting option- Welcher provides a spot in the second movement for the addition of a pub band (Irish folk band) and a three-minute vamp).
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
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