48 Early Works & Transcriptions. By Julio S. Sagreras. For Guitar (Classical). S...(+)
48 Early Works &
Transcriptions. By Julio
S. Sagreras. For Guitar
(Classical). Solos.
Chanterelle. Classic.
Level: Intermediate.
Book. Size 9x12. 144
pages. Published by
Chanterelle.
Piano Solo Piano/Keyboard - intermediate SKU: HL.294350 50 Essential M...(+)
Piano Solo Piano/Keyboard
- intermediate
SKU:
HL.294350
50
Essential Masterworks
Compiled & Edited by
Jennifer Linn. Edited
by Jennifer Linn.
Educational Piano
Library. Classical,
Romantic. Softcover. 162
pages. Published by Hal
Leonard (HL.294350).
ISBN 9781540053145.
UPC: 888680941444.
9.0x12.0x0.434 inches.
Compiled & Edited by
Jennifer
Linn.
Journey
Through the Classics -
Romantic Collection is a
piano repertoire
collection of 50 original
masterworks by Romantic
era composers including
Brahms, Burgmuller,
Chopin, Grieg, Heller,
Liszt, Mendelssohn,
Schumann, Tchaikovsky,
and many more. The graded
pieces 1-50 are presented
in a progressive order
from early intermediate
through late intermediate
level. The authentic
repertoire is ideal for
auditions and recitals,
and each level includes a
handy reference chart
with the key, composer,
and challenge elements
listed for each
piece.
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Peter
Hauschild. Choir;
stapled. Chor-Bibliothek
(Choral Library).
The
edition does justice to
the principle of source
criticism for performance
practice. In addition to
an evaluation of the
sources and metronome
markings, Hauschild
questions the dynamic
markings, notated
negligently by Beethoven
and his copyists.
Symphony; Classical.
Choral score. 20 pages.
Duration 65'. Breitkopf
and Haertel #ChB 5237-02.
Published by Breitkopf
and Haertel
(BR.CHB-5237-02).
ISBN
9790004412343. 7.5 x 10.5
inches.
,,Der
schwierige Spagat
zwischen den
Erfordernissen
praktischer Brauchbarkeit
und philologischer
Akribie ist auf einem
Niveau gegeluckt, welches
die Messlatte fur
vergleichbare Bemuhungen
beangstigend hoch legt.
(Chor und Konzert),,Die
Studienpartitur bietet
neben einem detailliert
scharfen und angenehmen
uberschaubaren Notentext
ein
nuchtern-aufschlussreiche
s Vorwort Hauschilds, in
dem die nicht gerade
geradlinige
Entstehungsgeschichte der
letzten Sinfonie
Beethovens erlautert
wird. (Tobias Gebauer,
Das Orchester)
The
edition does justice to
the principle of source
criticism for performance
practice. In addition to
an evaluation of the
sources and metronome
markings, Hauschild
questions the dynamic
markings, notated
negligently by Beethoven
and his copyists..
Composed by Tim Attride. The antiphon for use with the Seven Penitential Psalms ...(+)
Composed by Tim Attride.
The antiphon for use with
the Seven Penitential
Psalms and the Lenten
chant Parce Domine are
presented here in chant
with Latin text, followed
by SAB polyphony with
English text. This is an
accessible and
wonderfully appropriate
anthem for your choir
this. Lent, General.
Published by CanticaNOVA
Publications (C5.5042).