SKU: BR.OB-5252-15

ISBN 9790004334027. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

SKU: HL.244507

UPC: 888680708337. 5.0x5.0x0.19 inches.

Here is a guitar driven pop song from pop icon Miley Cyrus. In a musical style that celebrates the new direction in her life and in her music she says I'm giving the world a hug and saying, Hey, look. We're good - I love you. And I hope that you can love me back. A beautiful message for your singers to express.

SKU: BA.BA08809

ISBN 9790006568970. 31 x 24.3 cm inches. Key: B-flat major. Preface: Gudula Schutz.

Mozart composed his two â??Lodron Serenadesâ? for open-air performances on the name day of Countess Antonia Lodron in June 1776 and 1777. Their bright â??al frescoâ? character is immediately recognisable. Alfred Einstein considered these two divertimentos to be â??among the purest, gayest, most satisfying, and most perfect that ever assumed musical formâ?.

For both works Mozart chose an ensemble of two horns, two violins, viola and bass instruments. However, the second Lodron Serenade, the Divertimento in B-flat major K. 287, stands out from this sextet format by assigning a remarkably virtuosic solo role to the first violin, from the richly diverse opening movement to the finale with its almost ironic recitative and an exhilarating passage on the folk song â??Dâ??Bäurin hat dâ??Katz verlornâ?. Mozart himself played first violin in the 1777 performance. Later he wrote, â??They all opened their eyes! I played as though I were the finest fiddler in all Europeâ?.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY 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: BR.OB-5251-16

ISBN 9790004332955. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

SKU: M7.AHW-2011

English.

It is so easy to dismiss a rhythm book as something for beginners, not worth a serious musician's time and energy. We can already read, what more do we need? I felt this way as well, then I was VERY glad that I did not put this book down after the first few pages. Once you get past the first 10 pages of basics you are left with a book of such creative jazz and rock etudes that you wouldn't even consider it to have been written with the intention of improving your reading. This is a fully fledged contemporary jazz rock etude book that gets you reading complex grooves that will keep you coming back for more.

SKU: BR.EB-9270

ISBN 9790004185704. 9 x 12 inches.

I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony, which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time, I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.Christian Mason, 2018 The four movements may be played separately or as a collection. If played together the following order should be observed (see table of contents).

World premiere: Sheffield/UK, Firth Hall, April 14, 2018, Commissioned by Ligeti Quartet.