| Symphony F major Hob. I:89 Orchestre [Conducteur] Barenreiter
Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. This...(+)
Composed by Franz Joseph
Haydn (1732-1809). Edited
by Andreas Friesenhagen.
This edition: urtext
edition. Stapled. Urtext
from: Joseph Haydn Werke,
G. Henle Verlag Munchen.
Score. Hob. I:89.
Duration 22 minutes.
Published by Baerenreiter
Verlag (BA.BA10979).
$59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Still Leben Orgue Wilhelm Hansen
Organ SKU: HL.14031560 Composed by Pelle Gudmundsen-holmgreen. Music Sale...(+)
Organ SKU:
HL.14031560 Composed
by Pelle
Gudmundsen-holmgreen.
Music Sales America.
Classical. Book
[Softcover]. Composed
2005. 36 pages. Edition
Wilhelm Hansen #WH30534.
Published by Edition
Wilhelm Hansen
(HL.14031560). ISBN
9788759811009.
International (more than
one
language). STILL.
LEBEN Organist Eva
Feldbc:ek had been asking
me for a long time to
write for the organ
without the use of iron
blocks, extra stopping
assistants etc ....
unusual difficulties that
belonged to my earlier
organ music. I
setmyselfthe task of
Miting a ''handier'' kind
of music for the organ.
Once I had finished
STILL. LEBEN, I didn't
think I had achieved what
I was looking for. True,
the two movements did not
involve odd things, but
handy isn't really the
word for them either. So
I wrote the three
movements in COUNTERMOVE
to tidy up even more. And
since I didn't think that
was enough either, I
wrote the really simple
pieces under the title IN
TRIPLUM. The three
series(eight pieces in
all, 2 + 3 + 3) sound
very different, but they
all take their point of
departure from the nature
and tonal resources ofthe
organ. Everywhere there
is polyrhythm or
hierarchical layering,
polychromaticism,
diatonics and melody (the
last of these only
sparingly and in some of
the movements). Pelle
Gudmundsen-Holmgreen. $26.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata No. 3 Piano seul Theodore Presser Co.
Composed by Richard Wernick (1934-). Sws. Duration 17 minutes. Theodore Presse...(+)
Composed by Richard
Wernick
(1934-). Sws. Duration 17
minutes. Theodore Presser
Company #110-41833.
Published
by Theodore Presser
Company
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Harvest Moon Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
By Larry Clark. For string orchestra. Carl Fischer First Plus String Orchestra S...(+)
By Larry Clark. For
string orchestra. Carl
Fischer First Plus String
Orchestra Series. Grade
1.5-2. Score and parts.
Published by Carl Fischer
$53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Olosabut (1885) Carl Fischer
Chamber Music Tuba, Piano SKU: CF.W2693 The World's Oldest Tuba Solo(+)
Chamber Music Tuba, Piano
SKU: CF.W2693
The World's Oldest
Tuba Solo. Composed
by William Pettee. Edited
by Curtis Peacock. Sws.
Set of Score and Parts.
8+2 pages. Carl Fischer
Music #W2693. Published
by Carl Fischer Music
(CF.W2693). ISBN
9781491158586. UPC:
680160917198. 9 x 12
inches. While
unknown today, composer
William Pettee
(1839a1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880a1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (atuba soloa
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwellas Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Petteeas
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839-1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880-1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (tuba solo
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell's Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Pettee's
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839–1891) was
clearly a remarkable
musician and composer
evidenced by the fact
that he wrote funeral
music for Abraham Lincoln
and General Ulysses S.
Grant. This funeral music
survives to this day in a
piano reduction format
and is the basis of some
of my most current
arranging projects. This
new edition of Olosabut
was the culmination of
years of research into
the era commonly called
The Golden Age of Bands,
a period spanning
1880–1920. This
project initially began
when I played the solo
part for Olosabut with a
reading band when I was a
guest artist at the
Northwest Brass Festival
in Seattle in 2010. For
this new edition, I
created a score with
modern transpositions.
Prior to this, there has
been no score for this
music. There is often no
score for American band
music from this era. I
also adjusted the
dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and
orchestra.Olosabut
(“tuba soloâ€
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell’s
Quickstep (Fun for
Basses) from 1881. This
is described as a novelty
march for tuba section,
however. A notable
omission from the Tuba
Source Book, though, is
William Pettee’s
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marche fatale Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU:
BR.EB-9253 Composed
by Helmut Lachenmann.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253). ISBN
9790004185537. 9 x 12
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marche fatale Orchestre [Conducteur] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU:
BR.PB-5432 Composed
by Helmut Lachenmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432). ISBN
9790004212790. 10 x 12.5
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $63.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marcel Tournier: Intermediate Pieces for Solo Harp, Volume II Harpe Carl Fischer
Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Car...(+)
Chamber Music harp
SKU: CF.H84
Composed by Marcel
Tournier. Edited by Carl
Swanson. Collection -
Score. Carl Fischer Music
#H84. Published by Carl
Fischer Music (CF.H84).
ISBN 9781491165539.
UPC:
680160924530. Marce
l Tournier
(1879–1951) was
one of the most important
harpist/composers in the
history of the harp. Over
his long career, he added
a significant catalogue
of very beautiful works
to the harp repertoire.
Many of his solo works,
almost one hundred, have
been consistently in
print since they were
first published. But in
recent years harpist Carl
Swanson has discovered a
treasure trove of pieces
by Tournier heretofore
unknown and unpublished.
These include the
Déchiffrages in this
edition, as well as songs
set for voice, harp, and
string quartet, and
ensemble arrangements of
some of his most beloved
works.All of the works
that Carl Swanson found
were in manuscript only.
With the help of the
great harpist Catherine
Michel, he has put these
pieces into playable
form, and they are being
published for the very
first time. He and
Catherine often had to
re-notate passages to
show clearly how they
could be played, adding
fingerings and musical
nuances, tempos, pedals,
and pedal
diagrams.Tournier wrote
these pieces when he was
in his 20s, and before he
became the
impressionistic composer
those familiar with his
work know so well. They
are written in the late
nineteenth-century
romantic style that was
being taught at that time
at the Paris
Conservatory. They are
beautiful short,
intermediate level pieces
by a first rate composer,
and add much needed
repertoire to that level
of playing. Marcel
Tournier
(1879–1951) was
one of the most important
harpist/composers in the
history of the harp. He
graduated from the Paris
Conservatory with a first
prize in harp in 1899. He
also studied composition
there and won a second
prize in the prestigious
Prix de Rome competition,
as well as a first prize
in the Rossini
competition, another
major composition
competition of the day.
From 1912 to 1948 he
taught the harp class at
the Paris Conservatory.
But composition, and
almost entirely,
composition for the harp,
was the main focus of his
life. His published
works, including many
works for solo harp, a
few for harp and other
instruments, and several
songs, number around one
hundred pieces.In 2019,
while researching
Tournier for my edition
MARCEL TOURNIER: 10
Pieces for Solo Harp, I
discovered that there was
a significant list of
pieces by this composer
that had never been
published and were not
included on any inventory
of his music. Principal
on this list were his
déchiffrages
(pronounced
day-she-frahge, like the
second syllable in the
word garage).The word
déchiffrage means
sight-reading exercise,
and that was their
original purpose.
Tournier numbered and
dated these pieces, with
dates ranging from 1900
to 1910, indicating that
they were in all
likelihood written for
Alphonse
Hasselmans’ class
at the Paris
Conservatory. Tournier
was probably told how
long to make each one,
and how difficult. They
range in length from two
to four pages, with only
one in the whole series
extending to five, and
from thirty to fifty-five
measures, with only one
extending to eight-five.
The level of difficulty
for the whole series is
intermediate, with some
at the easier end, and
others at the middle or
upper end.We don’t
know if they were
intended to test students
trying to enter the harp
class, or if they were
used to test students in
the class as they played
their exams. The fact
that they were never
published means that
students had to not only
sight read them, but
sight read them in
manuscript form!I worked
from digital images of
the original manuscripts,
which are in the private
music library of a
harpist in France. She
had twenty-seven of these
pieces, and this edition
is the second in a series
of three that will
publish, for the first
time, all of the ones
that I have found thus
far. The manuscripts
themselves consist of
little more than notes on
the page: no pedals
written in, no
fingerings, few if any
musical nuances and tempo
markings, and no clear
indication as to which
hand plays which notes.
These would have been
difficult to sight read
indeed! My collaborator
Catherine Michel and I
added musical nuances,
fingerings, pedals and
pedal diagrams, and tempo
indications to put them
into their current
condition.At the time
these were written,
Tournier would have been
in his twenties, having
just graduated from the
harp class himself
(1899), and might still
have been in the
composition class. These
are the earliest known
pieces that he wrote, and
they were written at the
very beginning of a
cultural revolution and
upheaval in Paris that
was to completely and
profoundly alter musical
composition. Tournier
himself would eventually
be caught up in this new
way of composing. But not
yet.All of the
déchiffrages are
written in the late
romantic style that was
being taught at that time
at the Paris
Conservatory. Each one is
built on a clear musical
idea, and the variety
over the whole series
makes them wonderful to
listen to as well as to
learn. They are also
great technical lessons
for intermediate level
players.The obvious
question is: Why
didn’t Tournier
publish these pieces, and
why didn’t he list
them on his own inventory
of his music? Actually,
four of them were
published, with small
changes, as his
collection Four Preludes,
Op. 16. These came from
the ones that will be in
volume three of this
series from Carl Fischer.
His first large piece,
Theme and Variations, was
published in 1908, and
his two best known and
frequently played pieces,
Féerie and Au Matin,
followed in 1912 and 1913
respectively. We can only
speculate because there
is so much still unknown
about Tournier and about
these unpublished pieces.
He may have looked at
them, fresh out of school
as he was, as simply a
way to make some quick
money. The first several
pieces that he did
publish are much longer
than any of the
déchiffrages. So it
could be that, because of
their shorter length, as
well as the earlier
musical style that he was
moving away from, he
chose not to publish any
more of them. We may
never know the full
story. But all these
years later, more than a
century after they were
composed, we can listen
to them for their own
merits, and not measured
against whatever else was
going on at the time. The
numbers on these pieces
are the ones that
Tournier assigned to
them, and the gaps
between some of the
numbers suggest that
there are perhaps thirty
or more of these pieces
still to be found, if
they still exist. They
will, in all likelihood,
be found, as these were,
in private collections of
harp music, not in
institutional libraries.
We can only hope that
more of them will be
located in years to
come.—Carl
SwansonGlossary of French
Musical TermsTournier was
very precise about how he
wanted his pieces played,
and carefully
communicated this with
many musical indications.
He used standard Italian
words, but also used
French words and phrases,
and occasionally mixed
both together. It is
extremely important to
observe and understand
everything that he put on
the page.Here is a list
of the French words and
phrases found in the
pieces in this edition,
with their
translation.bien
chanté well sung,
melodiousdécidé
firm, resolutediminu peu
à peu becoming softer
little by littleen
diminuant becoming
softeren riten. slowing
downen se perdant dying
awayGaiement gayly,
lightlygracieusement
gracefully,
elegantlyLéger light,
quickLent slowmarquez le
chant emphasize the
melodyModéré at a
moderate tempopeu Ã
peu animé more lively,
little by littleplus lent
slowerRetenu held
backsans lenteur without
slownesssans retinir
without slowing downsec
drily, abruptlysoutenu
sustained, heldtrès
arpegé very
arpeggiatedTrès
Modéré Very
moderate tempoTrès peu
retenu slightly held
backTrès soutenu very
sustainedun peu retenu
slightly held back. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cello Sonata No. 2 in G Minor, Op. 117 Violoncelle, Piano G. Henle
Composed by Gabriel Faure (1845-1924). Edited by Fabian Kolb. Henle Music Foli...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
Fabian
Kolb. Henle Music Folios.
Softcover. G. Henle
#HN1358.
Published by G. Henle
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Zoli Kocsis's Manuscript book Piano seul [Partition + CD] EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ15000N Facsimile numbered edition with CD. Compo...(+)
Piano SKU:
BT.EMBZ15000N
Facsimile numbered
edition with CD.
Composed by Gyorgy
Kurtag. Book with CD.
Composed 2016. 122 pages.
Editio Musica Budapest
#EMBZ15000N. Published by
Editio Musica Budapest
(BT.EMBZ15000N).
English-Hungarian.
In the autumn of 1974
György Kurtág began
to copy selected pieces
from the series Games
into a music notebook for
Zoltán Kocsis who was
his student in earlier
years and who, throughout
his entire life, was one
of its most authentic
performers. Kocsis played
from this notebook in the
first public performance
of Games in 1974. The
gradually expanding
series of piano pieces
also appeared in print in
the course of later
decades however, he
always used this
collection - expanded
over 32 years since by
Kurtág - whenever he
played pieces from Games
in concert. Since the
time of this 1974
concert, as Kocsis wrote
later: ''I didn't know
that the spiral notebook
I received at thepremiere
would later become, as it
were, my permanent
companion. That I would
take it with me from
Japan to Canada, from
Australia to Iceland,
travelling to the world's
most prominent concert
halls, surviving fire
damage, flood, transport
catastrophes, theft
attempts, forced landings
and so on, and that -
well beyond the intention
of its being 'copied with
love' - it would include
works and sketches for
which this notebook would
become the principal
source.''The manuscript
gives a glimpse into
Kurtág's workshop from
the viewpoint of both
performers and
musicologists. The former
can understand more from
Kurtág's handwriting
about the composer's
intentions than from the
printed score. The
musicologists, however,
can study the historical
origins of the works:
some works can be found
here in more than one
version, others appear in
a version different from
the printed score.The
publication is
accompanied by a booklet
and a CD supplement. The
booklet contains Kocsis's
own personal preface, as
well as András
Wilheim's essay providing
information about the
collection and the pieces
contained therein. On the
CD we hear 11 works
performed by Kocsis, from
a recording made in 1982
which has not previously
been commercially
issued. $102.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| By the rivers of Babylon Chorale SATB [Conducteur] Barenreiter
Alto, Mixed choir (SATB), Piano SKU: BA.BA11309 Composed by Camille Saint...(+)
Alto, Mixed choir (SATB),
Piano SKU:
BA.BA11309 Composed
by Camille Saint-Saens.
Edited by Christina M.
Stahl. This edition:
urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11309. Published by
Baerenreiter Verlag
(BA.BA11309). ISBN
9790006577705. 27 x 19 cm
inches. Text Language:
English. It is a
small music history
sensation: Thanks to Yves
Grard an unknown and
unpublished manuscript
penned by Camille
Saint-Saëns has been
unearthed in the
Mdiathèque Jean Renoir
in Dieppe in
France.
It is the
top four instrumental
parts which make this
manuscript something of a
sensation. Placed under
each other are
â??Saxophone Soprano en
Si bâ?, â??Saxophone
Alto en Mi bâ?,
â??Saxophone Tnor en Si
bâ? and â??Saxophone
Baryton en Mi bâ?,
strings, soprano solo
with chorus and organ.
Musical history has
hitherto credited
Jean-Baptiste Singele
(1812â??1875) with
having written the first
saxophone quartet, his
opus 53, which he
completed in 1857. Now
this historiography
clearly has to be
revised. The date 1854
has been found under the
first page of the
treasure from Dieppe,
which is pasted over and
also sewn, meaning that
Saint-Saënsâ?? work
was written three years
earlier than that of
Singele.
In
contrast to Singele,
Saint-Saëns does not
have the wind instruments
taking solo parts but
rather uses their tonal
colour to depict textual
moods and nuances. On the
one hand the saxophones
accompany the choral
parts (certainly singable
by amateurs) and support
the human voices in fugal
passages. On the other
hand, they take the
melody in the purely
orchestral
passages.
Saint-Sa
ëns wrote the motet in
the period when he had
taken up his first
permanent appointment as
organist at the Church of
Saint-Merri in Paris. He
revised the work several
times over the decades,
changing the motifs at
the beginning, correcting
obvious mistakes,
reworking the ending,
eventually changing the
instrumentation several
times and even â??
probably in the final
stage â?? replacing the
Latin text with an
English one. Today,
three-and-a-half versions
have been handed down,
one of them stopping
after just a few pages.
The compositional steps
have been successfully
reconstructed by means of
detailed detective work.
Furthermore, the first
saxophone version (BA
11305) and the last
English piano version (BA
11309) have been edited
to produce a
scholarly-critical
edition.
The
present edition of the
English version for
soprano solo, choir and
piano (BA 11309) serves
both as a full score and
as a vocal score due to
the
instrumentation.
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
$13.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Treasures for Flute and Piano Flûte traversière et Piano Carl Fischer
Chamber Music flute, piano SKU: CF.WF228 Philippe Gaubert. Compose...(+)
Chamber Music flute,
piano SKU:
CF.WF228 Philippe
Gaubert. Composed by
Philippe Gaubert. Edited
by Amy Porter. Arranged
by Amy Porter. Set of
Score and Parts. With
Standard notation.
104+1+32 pages. Carl
Fischer Music #WF228.
Published by Carl Fischer
Music (CF.WF228). ISBN
9781491153529. 9 x 12
inches. Compiled
and edited by Amy Porter,
Treasures for Flute and
Piano is acollection of
Philippe Gaubert’s
shorter works for flute
and piano. Gaubertwas a
multi-talented musician,
a marvelous flutist as
well as a
composer,teacher, and
master conductor. Over
his lifetime, he became
one of the mostimportant
musical figures in France
between the World Wars in
the first halfof the 20th
century. Trained in
theory and harmony at the
Paris
Conservatory,Gaubert was
also deeply influenced by
other composers at the
time, includingDebussy,
Fauré, and Dukas.
Editor Amy Porter is a
distinguished Professorat
The University of
Michigan School of Music,
Theatre & Dance, and
hasbeen praised by
critics for her
exceptional musical
talent and her passion
forscholarship. This
edition represents eleven
of the sixteen works from
AmyPorter and Dr.
Penelope Fischer’s
video study guide,
“The Gaubert Cycle:
TheComplete Works for
Flute and Piano by
Philippe
Gaubertâ€. Philip
pe Gaubert
(1879–1941) was a
very important teacher
and flutist in our
classical flute playing
lineage. In this edition
we have gathered his
beautiful, shorter
compositions for flute
and piano all in one
place, to be cherished as
“Gaubert’s
Treasures.â€Philippe
Gaubert personified the
modern French school of
flute playing as
introduced by his teacher
Paul Taffanel
(1844–1908) at the
Paris Conservatory.
Gaubert was a
multitalented musician, a
marvelous flutist as well
as a gifted composer,
teacher and master
conductor. Over his
lifetime he became one of
the most important
musical figures in France
between the World Wars in
the first half of the
twentieth century.
Gaubert’s musical
andpedagogical gifts to
us are passed along
through generations of
students and continue to
touch the hearts of many
who listen to his fine,
and refined,
music.Philippe Gaubert
studied composition at
the Paris Conservatory
with Raoul Pugno, Xavier
Leroux, and then for a
brief time with Charles
Lenepvu. It was after
this study that he won
the famous Prix de Rome
second prize in
composition. Even with
his schooling of theory
and harmony in Paris, he
was deeply influenced by
other composers of the
time, namely Debussy,
Fauré and Dukas.
Between the years of
1905–1914
Gaubert’s early
workswere arrangements
and short pieces written
for the year-end final
exam pieces at the
Conservatory.Between
1914–1918 Gaubert
served in the French Army
during World War I, most
notably in the battle of
Verdun in 1916. This was
considered one of the
largest battles against
the Germans in WWI. He
was wounded but his
creativity level was not
dampened. He was rewarded
for his service and
awarded medals for his
bravery. It was during
this time that he found
the energy to compose his
Deux Esquisses or 2
Scenes, and sketched out
his first flute
sonata.Gaubert composed
his remaining five flute
and piano works after
1922 in Paris, and
clearly his poetic soul
was transformed from the
earlier years. He took in
new forms and styles of
compositions such as a
Suite, a Ballade and a
Sonatine. He also
completed his Second and
Third Sonatas for Flute
and Piano, all of them
dramatic works in terms
of compositional
techniques and grandeur
of tone.Gaubert composed
music easily throughout
his lifetime, especially
during summer breaks when
the orchestra and Paris
Opera seasons were on
hiatus and he was not
conducting. He loved
literature and poetry
which inspired over
thirty vocal works from
1903 through 1938.He also
wrote twenty-six
instrumental chamber
works for other
instruments: oboe,
cornet, clarinet,
trombone, violin, viola,
cello, harp and
combinations of these
instruments with piano.
Some of these were
commissioned jury pieces,
but many were for his
musician friends.Six
full-length stage works,
both ballets and operas
for the stage, several
tone poems and symphonies
were written throughout
his lifetime.This edition
represents eleven out of
the sixteen works from
our video study guide
“The Gaubert Cycle:
The Complete Works for
Flute and Piano by
Philippe Gaubertâ€
with guest pianist Tim
Carey. Omitted in this
edition are Sonatas Nos.
1–3, Ballade, and
Sonatine. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Wind Serenade D Minor G. Henle
Wind Ensemble (Ensemble) SKU: HL.51481234 Op. 44. Composed by Anto...(+)
Wind Ensemble (Ensemble)
SKU: HL.51481234
Op. 44. Composed
by Antonin Dvorak. Edited
by Dominik Rahmer. Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1234. Published by G.
Henle (HL.51481234).
UPC: 196288023289.
9.0x12.0x0.482
inches. When
Dvorák wrote his
Serenade for 10 winds and
2 lower strings in
January 1878, the heyday
of the great wind
serenades and
“Harmoniemusikâ€
wind ensembles was
already long gone. He was
probably inspired by
hearing Mozart's Gran
Partita shortly
beforehand in Vienna. The
home key of d minor here
is striking, as is the
often serious, even
tragic atmosphere that
repeatedly darkens the
otherwise cheerful mood
that is typical of the
serenade genre. Perhaps
this was a reaction to
the death of two of his
children just a few
months earlier. Despite
the work's dramatic
character - or perhaps
because of it -
Dvorák's Serenade was
taken up in many European
cities soon after its
first performance in
Prague, and fêted as a
significant contribution
to the chamber music
repertoire for wind
instruments. The
autograph sources in
Prague have been
consulted for this Urtext
edition. The parts are
printed with
player-friendly page
divisions, perfect
page-turning
opportunities, and
practical alternative
parts in F for the three
horns.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
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| Intégrale des œuvres pour piano vol. 1 - 3 Piano seul - Intermédiaire Salabert
Piano - late intermediate SKU: BT.SLB-00596300 By Robert Orledge. By Erik...(+)
Piano - late intermediate
SKU:
BT.SLB-00596300 By
Robert Orledge. By Erik
Satie.
Durand-Salabert-Eschig-Si
gnature Series. Set of
Books. Composed 2016. 600
pages. Editions Salabert
#SLB 00596300. Published
by Editions Salabert
(BT.SLB-00596300).
PIANO inches.
English-French. Thi
s new, completely revised
and reset centenary
edition of Satie’s
complete piano music in
three volumes has
returned to
Satie’s
manuscripts and first
editions to give pianists
completely accurate and
reliable texts to play
from.
As well
aspresenting every piece
for piano solo or piano
reduction that Satie
published, this edition
also includes some
previously unknown
pieces, like the Petite
Sonate that he wrote for
Vincent d’Indy at
the Schola Cantorum, as
well as some
interestingfirst versions
of well-known pieces,
like San Bernardo, a
trial version of
Españaña (1913) and
the markedly different
first version of Les
Pantins dansent (1914).
In addition, there
areexamples of the
different types of
exercises that Satie
completedat the Schola
between 1905 and 1912,
some extra trial
Enfantines, and some
earlier drafts of his
famous Sports et
divertissements. To help
pianists, suggested
metronome marks have been
added throughout, and
there are also some
performance
suggestionsfor the Rose
Croix pieces of the
1890s, which otherwise
appear to be all quiet
and slow. The notation
has been made as
user-friendly as
possible, without
detracting from
Satie’s concerns
about the
“extériorisation
†of his musical
thought in
print.
Cette
nouvelle édition de
l’intégrale de
la musique pour piano
d’Erik Satie, en
trois volumes, est une
version totalement
révisée et
regravée de
l’édition
centenaire de son oeuvre
pianistique. Elle revient
aux sources manuscrites
et
premièreséditions
des pièces de Satie,
et offre aux
interprètes des textes
musicaux fi ables et
pertinents.Ces volumes
proposent toutes les
pièces pour piano
solo, ou en réduction
pour piano, publiées
par Satie, incluant
quelques pièces
antérieures inconnues,
telles la Petite Sonate
que Satie écrivit pour
Vincent d’Indy la
Schola Cantorum, et
quelquespremières
versions de pièces
très connues, comme
San Bernardo, version
d’essai
d’Españaña(1
913), ou encore les
premières versions
très différentes de
Les Pantins dansent
(1914).
On
trouvera également
quelques exemples des
différents
exercicesque Satie
exécuta la Schola
entre 1907 et 1912,
quelques tentatives
supplémentaires
d’Enfantines, et
quelques brouillons
antérieurs de ses
célèbres Sports et
divertissements.
D
es indications
métronomiques ont
été ajoutées afi
n d’aider
lesinterprètes, de
même que certaines
suggestions de jeu pour
les oeuvres relatives la
période Rose Croix des
années 1890, pièces
qui sinon pourraient ne
sembler que lentes et
tranquilles. La notation
a été envisagée
sous l’angle le
plus pratiquepossible,
sans pour autant
négliger le soucis de
Satie quant l’
« extériorisation
» de sa pensée
musicale sur
papier.
Questa
nuova edizione in tre
volumi delle composizioni
per pianoforte di Satie
offre ai pianisti una
revisione accurata e
fedele alle intenzioni
dell’autore grazie
all’analisi e al
confronto dei manoscritti
e delle loro prime
edizioni
astampa.
La
pubblicazione, oltre a
includere tutti i pezzi
per pianoforte o in
riduzione che Satie ha
pubblicato, offre anche
alcuni brani fino a oggi
sconosciuti, come la
Petite Sonate che ha
scritto per Vincent
d’Indy e
interessanti
primeversioni di pezzi
celebri, tra cui San
Bernardo, un primo
tentativo di
Españaña (1913) e
la prima versione,
considerevolmente
diversa, di Les Pantins
dansent
(1914).
Per
agevolare gli interpreti,
il curatoreha aggiunto,
all’occorrenza,
segnidi metronomo e
alcuni suggerimenti per
l’esecuzione. La
notazione musicale è
stata resa il più
possibile comprensibile
senza depauperare il
pensiero musicale di
Satie
sull’esteriorizzaz
ione della musica. $70.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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