| Blue Motion 2 Marimbas [Partition + CD-ROM] - Avancé Tapspace Publications
(duet for multipercussion). By Maraca2 Percussion Duo. By Stephen Whibley. Percu...(+)
(duet for
multipercussion). By
Maraca2 Percussion Duo.
By Stephen Whibley.
Percussion duo. For 2
marimbas (one 5 octave
low C and one low A),
vibraphone, 2 floor toms,
hi hat with remote pedal,
sizzle cymbal, shaker,
caxixi, afuche cabasa,
kit bass drum with double
pedal attachment, 2
splash cymbals, China
cymbal, triangle (2
players). Percussion
Duets. Advanced. Score
and CD-ROM (containing
printable parts). 24
pages. Duration 9'00 .
Published by Tapspace
Publications
$35.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stephen Dodgson - Suite For Brass Septet (Just Brass No.15) Chester
Brass Septet (Chamber Orchestra) SKU: HL.14009081 Just Brass No. 15(+)
Brass Septet (Chamber
Orchestra) SKU:
HL.14009081 Just
Brass No. 15.
Composed by Stephen
Dodgson. Music Sales
America. Classical. Set.
Composed 2005. Chester
Music #CH55026. Published
by Chester Music
(HL.14009081). ISBN
9780711928763.
8.25x11.75x0.268
inches. Edited by
Philip Jones & Elgar
Howarth. The Just Brass
series is regarded by
brass players worldwide
as the most important
brass ensemble series
available. There are more
than 100 titles
subdivided into Just
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Brass Lollipops and Giant
Just Brass. Supplied as
score and parts
together. $35.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Deep Blue Ocean 2 Pianos, 4 mains Bill Holab Music
Composed by Robert Paterson. For two pianos. Chamber Music. Performance set (2 c...(+)
Composed by Robert
Paterson. For two pianos.
Chamber Music.
Performance set (2 copies
of the score included).
Duration 12 minutes.
Published by Bill Holab
Music
$60.00 - Voir plus => AcheterDélais: 2 to 3 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 | | |
| Escapades: Books 1 and 2 - 22 Late Elementary Pieces for Piano Solo Piano seul Galaxy Music Corporation
Composed by Stephen Chatman. Piano Method. 20th Century, Secular. Published by ...(+)
Composed by Stephen
Chatman. Piano Method.
20th Century, Secular.
Published by Galaxy Music
Corporation (EC.7.0673).
$11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Duo - Two Violins: Book 1 (Initial-Grade 2) 2 Violons (duo) - Facile Trinity College London
Arrangements of syllabus repertoire for lessons, practice and performance. ...(+)
Arrangements of syllabus
repertoire for lessons,
practice and performance.
Composed by David
Blackwell,
Kathy Blackwell, and
Richard
Mainwaring. Classical.
Score
and Parts. Trinity
College
London #TCL020338.
Published
by Trinity College London
$22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Reflections of Summer 1 Piano, 4 mains [Feuillet] - Facile Alfred Publishing
By Stephen Fiess. For Piano. Piano Duet (One Piano, Four Hands). Level: Late Ele...(+)
By Stephen Fiess. For
Piano. Piano Duet (One
Piano, Four Hands).
Level: Late Elementary.
Sheet. 8 pages. Published
by Alfred Publishing.
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Two to Tango 1 Piano, 4 mains [Feuillet] - Intermédiaire Alfred Publishing
By Stephen Fiess. For Piano. Piano Duet (One Piano, Four Hands). Level: Early In...(+)
By Stephen Fiess. For
Piano. Piano Duet (One
Piano, Four Hands).
Level: Early
Intermediate. Sheet. 8
pages. Published by
Alfred Publishing.
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sacred Piano Duets 1 Piano, 4 mains [Set de Parties séparées] - Facile Lorenz Publishing Company
By Rob Roy Peery. Piano 4-hand. Sacred Piano. Published by Lorenz Publishing Com...(+)
By Rob Roy Peery. Piano
4-hand. Sacred Piano.
Published by Lorenz
Publishing Company.
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suite from The Enclave 2 Pianos, 4 mains [Partition] Rilting music
For 2 Pianos, 4 Hands and Percussion. Composed by Stephen Sondheim (1930-...(+)
For 2 Pianos, 4 Hands
and Percussion.
Composed by Stephen
Sondheim (1930-). Misc.
Softcover. 48 pages.
Published by Rilting
Music, Inc. (HL.153845).
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hound Dog Blues 1 Piano, 4 mains United Music Publishers
Piano Duet SKU: UM.15049 Composed by Stephen Montague. United Music Publi...(+)
Piano Duet SKU:
UM.15049 Composed by
Stephen Montague. United
Music Publishing #15049.
Published by United Music
Publishing (UM.15049).
ISBN
9790224415049. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Peppermint Ice Cream 1 Piano, 4 mains [Feuillet] - Facile Alfred Publishing
By Stephen Fiess. For Piano. Piano Duet (One Piano, Four Hands). Level: Late Ele...(+)
By Stephen Fiess. For
Piano. Piano Duet (One
Piano, Four Hands).
Level: Late Elementary.
Sheet. 8 pages. Published
by Alfred Publishing.
$4.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Moving On 2 Pianos, 4 mains Edition HH
Two pianos SKU: HH.HH396-FSP Composed by Stephen Pratt. Two Pianos. Two p...(+)
Two pianos SKU:
HH.HH396-FSP Composed
by Stephen Pratt. Two
Pianos. Two playing
scores. Duration 12
minutes. Edition HH Music
Publishers #HH396-FSP.
Published by Edition HH
Music Publishers
(HH.HH396-FSP). ISBN
9790708146131. Comp
osed between December
2014 and November 2015,
Moving On developed from
an initial short concert
piece, written at the
request of the piano duo
Lauryna Sableviciute and
Nicholas Ashton, into a
larger work of several
related movements
reflecting different
types of forward motion.
Some wander, with no
sense of hurry; others -
such as fast forward, a
kind of frantic
boogie-woogie that might
accompany a short,
speeded-up film of an old
American railroad train -
dash or are fleeting. As
the composer admits, a
future destination of
Moving On might well be a
piece with filmaEUR|. $45.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Das Zauberklavier 1 1 Piano, 4 mains Music Sales
Piano, 4 Hands SKU: HL.14033319 Fur kleine Klavierspieler in Begleitun...(+)
Piano, 4 Hands SKU:
HL.14033319 Fur
kleine Klavierspieler in
Begleitung des Lehrers -
For Young Pianists
Accompanied by
Teachers. Composed by
Hans Gunter Heumann.
Arranged by Hans Gunter
Heumann. Music Sales
America. Studies &
Exercises. Book
[Softcover]. 24 pages.
Music Sales #BOE3996.
Published by Music Sales
(HL.14033319). ISBN
9783936026887. The
Magic Piano Book 1 is a
collection of traditional
and popular classical
melodies, arranged for
Piano Duet by Hans-Gunter
Heumann. Ideal for young
pianists to play,
accompanied by their
teachers. The very first
music making is the
purest magic! $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cut-Time Shout 2 Pianos, 4 mains Theodore Presser Co.
Chamber Music 2 Piano, 4 Hands SKU: PR.140400990 For Two Pianos. C...(+)
Chamber Music 2 Piano, 4
Hands SKU:
PR.140400990 For
Two Pianos. Composed
by Stephen Jaffe. Saddle.
Set of performance
scores. With Standard
notation. 6 pages.
Theodore Presser Company
#140-40099. Published by
Theodore Presser Company
(PR.140400990). UPC:
680160545445. 9.5 x 13
inches. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blue Ghost Waltz 1 Piano, 4 mains - Intermédiaire Alfred Publishing
By Stephen Fiess. For Piano. Piano Duet (One Piano, Four Hands). Level: Late Int...(+)
By Stephen Fiess. For
Piano. Piano Duet (One
Piano, Four Hands).
Level: Late Intermediate.
Sheet. 12 pages.
Published by Alfred
Publishing.
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Our God Reigns 2 Pianos, 4 mains Fred Bock Music Company
Piano Duets. Arranged by Stephen Nielson, Ovid Young. Fred Bock Publications. Si...(+)
Piano Duets. Arranged by
Stephen Nielson, Ovid
Young. Fred Bock
Publications. Size 9x12
inches. 48 pages.
Published by Fred Bock
Music Company.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| James Macmillan : Piano Concerto No. 2 2 Pianos, 4 mains [Reduction] Boosey and Hawkes
(Reduction for 2 Pianos, 4 Hands). By James Macmillan. Arranged by Stephen Gibso...(+)
(Reduction for 2 Pianos,
4 Hands). By James
Macmillan. Arranged by
Stephen Gibson. For 2
Pianos, 4 Hands. BH
Piano. Softcover. 84
pages. Boosey and Hawkes
#M060123733. Published by
Boosey and Hawkes
$47.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Wicked (Piano Duet Play-Along Volume 20) 1 Piano, 4 mains [Partition + Accès audio] Hal Leonard
Piano Duet Play-Along Volume 20 NFMC 2020-2024 Selection. Composed by Stephen Sc...(+)
Piano Duet Play-Along
Volume 20 NFMC 2020-2024
Selection. Composed by
Stephen Schwartz.
Arranged by Carol Klose.
Piano Duet Play-Along.
Broadway, Duet. Softcover
Audio Online. 80 pages.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Paramell V 2 Pianos, 4 mains SATB, Orchestre United Music Publishers
2 Pianos SKU: UM.922 Composed by Stephen Montague. United Music Publishin...(+)
2 Pianos SKU:
UM.922 Composed by
Stephen Montague. United
Music Publishing #922.
Published by United Music
Publishing (UM.922).
ISBN
9790224400922. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Double Sonata 2 Pianos, 4 mains Theodore Presser Co.
Chamber Music 2 Piano, 4 Hands SKU: PR.440400180 For Two Pianos. C...(+)
Chamber Music 2 Piano, 4
Hands SKU:
PR.440400180 For
Two Pianos. Composed
by Stephen Jaffe. First
Performance: Anton Nel
and Barry Snyder, Alice
Tully Hall New York June
26, 1989. Classical. Set
of Score and Parts. With
Standard notation.
Duration 22 minutes.
Theodore Presser Company
#440-40018. Published by
Theodore Presser Company
(PR.440400180). UPC:
680160094554. This
impressive concert work
is a frank dialogue
between the players. The
four movements are of
contrasting character,
but always in a
conversational style.
Jaffe was one of four
finalists in the 1991
Friedheim competition.
For colleges,
conservatories,
professionals.
Difficult. $54.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Saxophone Repertoire 4 Saxophone - Facile The Frederick Harris Music Company
Saxophone - Early Intermediate SKU: FH.WS4 Saxophone Series, 2013 Edit...(+)
Saxophone - Early
Intermediate SKU:
FH.WS4 Saxophone
Series, 2013 Edition.
Composed by The Royal
Conservatory. Saxophone
Series, 2013 Edition.
Book/CD. 56/24 pages. The
Frederick Harris Music
Company #WS4. Published
by The Frederick Harris
Music Company (FH.WS4).
ISBN
978-1-55440-553-4.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Mainly
Transcriptions: Sicili
ana - attr. Johann
Sebastian Bach, arr.
Stephen
Chatman Sonata, op. 1,
no. 1 - Jean-Baptiste
Loeillet (de Gant), arr.
Kathleen Wood - First
Movement - Second
Movement Habanera
(from Carmen, act 1) -
Georges Bizet, arr.
Stephen Chatman Two
Airs - Henry Purcell
Mainly Original
Repertoire for
Saxophone: Romance -
Elizabeth Raum A
Knight in Shining Armor -
Phil Woods Idyl - Nova
Pon
Bb
Saxophone:
Mainly
Transcriptions: Sonata
, op. 1, no. 1 -
Jean-Baptiste Loeillet
(de Gant), arr. Kathleen
Wood - First
Movement - Second
Movement Habanera
(from Carmen, act 1) -
Georges Bizet, arr.
Stephen
Chatman Allegro in G
Minor, op. 6, no. 8 -
Arcangelo
Corelli Mainly
Original Repertoire for
Saxophone: Romance -
Elizabeth Raum Dancing
Silhouettes - Floyd Olin
Harris Willow, Willow
- Percy Aldridge
Grainger, arr. Carl
Simpson. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saxophone Repertoire 3 Saxophone - Facile The Frederick Harris Music Company
Saxophone - Early Intermediate SKU: FH.WS3 Saxophone Series, 2013 Edit...(+)
Saxophone - Early
Intermediate SKU:
FH.WS3 Saxophone
Series, 2013 Edition.
Composed by The Royal
Conservatory. Saxophone
Series, 2013 Edition.
Book/CD. 48/20 pages. The
Frederick Harris Music
Company #WS3. Published
by The Frederick Harris
Music Company (FH.WS3).
ISBN
978-1-55440-552-7.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Mainly
Transcriptions: Sonata
, op. 2, no. 1 -
Benedetto Marcello, arr.
Jason Noble - Third
Movement - Fourth
Movement Mazurka, op.
67, no. 2 - Frederic
Chopin Sonata, BWV
1033 - attr. Johann
Sebastian Bach, arr.
Stephen Chatman -
Menuet I - Menuet
II Tambourin (from
Iphigenie en Aulide) -
Christoph Willibald
Gluck, arr. Christine
Donkin Anglois con
Variationi - Johann
Gottlieb Nicolai, arr.
Stephen Chatman Mainly
Original Repertoire for
Saxophone: Song -
Walter S. Hartley It's
a Raggy Waltz - Dave
Brubeck, arr. Paul Harris
and Beverley
Calland Dancing Under
the Afghan Sky -
Christiaan
Venter Flight - Noel
Gallon
Bb
Saxophone:
Mainly
Transcriptions: Serena
de - attr. Roman
Hoffstetter, arr. John
Harle Sonata, K 13 -
Wolfgang Amadeus
Mozart - Menuetto
I - Menuetto
II Intermezzo (from
Cavalleria Rusticana) -
Pietro Mascagni, arr.
Eugene
Rousseau Sinfonia
(Arioso) - Johann
Sebastian Bach, arr. Mark
Mrozinski Mainly
Original Repertoire for
Saxophone: Dancing
Under the Afghan Sky -
Christiaan
Venter Grand Ole Duke
- James Rae The Blue
Fox - Frank J.
Halferty. $35.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Merrily We Roll Along Chorale SATB Hal Leonard
Choral (SATB) SKU: HL.1456579 Composed by Stephen Sondheim. Edited by Jud...(+)
Choral (SATB) SKU:
HL.1456579 Composed
by Stephen Sondheim.
Edited by Judith Clurman.
Arranged by Jason Robert
Brown. Voices Rising.
Broadway, Musicals.
Octavo. Published by Hal
Leonard (HL.1456579).
UPC:
196288210139. The
stars are aligned for
Stephen Sondheim's 1981
Broadway
â??failureâ?, which,
through the eyes of time
(which the musical
expertly navigates, to an
astounding effect), has
been re-appraised as a
under appreciated
masterpiece from the late
composer. Jason Robert
Brown takes the many
permutations of the main
theme and pares them down
to this exquisite and
genuine choral
arrangement. $2.75 - Voir plus => Acheter | | |
| The Orgelbüchlein Project (A 21st-Century Completion of Bach's Orgelb.) Orgue Peters
Organ SKU: PE.EP73145 4. Christian Life and Conduct (Chorales 8...(+)
Organ SKU:
PE.EP73145 4.
Christian Life and
Conduct (Chorales
87-113). Composed by
Edited by William
Whitehead. Organ (Solo).
Edition Peters. Book. 152
pages. Edition Peters
#98-EP73145. Published by
Edition Peters
(PE.EP73145). ISBN
9790577014982. 303 x
232mm inches.
English. The
Orgelbüchlein Project
is a collective
composition project
aiming to complete Bach's
unfinished manuscript
known as
'Orgelbüchlein'. In
the 'Little Organ Book',
Bach laid out a complete
hymnal of short organ
chorale preludes, 164 in
all, but only completed
46 of them. Why the
remaining 118 were left
as blank pages, with only
a title at the head,
remains a mystery, but
they inspried organists
William Whitehead to
found the
Orgelbüchlein Project,
in which contemporary
composers are invited to
contribute a piece to
completing the
collection.
The
resulting collection, to
be published in six
volumes, represents a
cross-section of the most
interesting composers at
work today across
Europe.
More
information about the
project is available at
www.orgelbuechlein.com
List of
Composers
-
Nigel
Allcoat
- Johann
Sebastian
Bach
- Sally
Beamish
- Christian
von Blohn
- Timothy
Byram-Wigfield
- Jo
hn Butt
- Stephen
Hough
- Juste
Janulyte
- Simon
Johnson
- Jonas
Jurkunas
- Daniel
Kidane
- Till
Alexander
Körber
- Ronny
Krippner
- David
Matthews
- Nico
Muhly
- Anthony
Powers
- Tarik
O'Regan
- Roxanna
Panufnik
- Poul
Ruders
- Sven-David
Sandström
- Robe
rt Saxton
- Peter
Shepherd
- Andrew
Synnot
- Zsigmond
Szathmáry
- Will
iam
Whitehead
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Saxophone Repertoire 7 Saxophone - Intermédiaire The Frederick Harris Music Company
Saxophone - Late Intermediate SKU: FH.WS7 Saxophone Series, 2013 Editi...(+)
Saxophone - Late
Intermediate SKU:
FH.WS7 Saxophone
Series, 2013 Edition.
Composed by The Royal
Conservatory. Saxophone
Series, 2013 Edition.
Book/CD. 88/36 pages. The
Frederick Harris Music
Company #WS7. Published
by The Frederick Harris
Music Company (FH.WS7).
ISBN
978-1-55440-556-5.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Mainly
Transcriptions: Sonata
, op. 2, no. 6 (La
bouget) - Michel
Blavet -
[Complete] Minuet and
Dance of the Blessed
Spirits (from Orphee et
Euridice) - Christoph
Willibald Gluck, arr.
Stephen Chatman Mainly
Original Repertoire for
Saxophone: Dance with
Sticks - Bela
Bartok Hornpipe Dance
- Bela Bartok Ragtime
Waltz - Richard Rodney
Bennett Sonata - Phil
Woods - First
Movement
Bb
Saxophone:
Mainly
Transcriptions: Sonata
in G minor, H 542.5 -
attr. Carl Philipp
Emanuel Bach - Third
Movement Sonata in G
minor, HWV 364a - George
Frideric Handel, arr.
Harold Birston -
[Complete] Mainly
Original Repertoire for
Saxophone: Souvenir -
Robert Walker Sonata -
Walter S. Hartley -
First Movement I Got
Unhappy - Neil
Currie
Eb
Saxophone or Bb
Saxophone:
Unaccom
panied
Repertoire: Fantasia
no. 6 in D minor, TWV
40:7 - Georg Philipp
Telemann -
[Complete] In the
Company of My Soul -
Kelly-Marie Murphy -
First Movement Sketch
- Ronald L. Caravan. $48.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem (Messa de' morti) in C minor (Vocal Score) Peters
Choir Sacred SA (SSATB) Soli, SSATB ATB Choir, Piano (SSATB ATB) SKU: PE.EP73...(+)
Choir Sacred SA (SSATB)
Soli, SSATB ATB Choir,
Piano (SSATB ATB) SKU:
PE.EP73044A For
Soprano, Alto, Choir and
Orchestra, First Edition,
Urtext. Composed by
Francesco Durante. This
edition: Urtext. Choral
Works (inc. Oratorios).
Edition Peters. Book. 116
pages. Duration 00:00:00.
Edition Peters
#98-EP73044A. Published
by Edition Peters
(PE.EP73044A). ISBN
9790577013428. 190 x
272mm inches.
English. The
Requiem in C minor by
Francesco Durante
(1684–1755) is one
of the most important
works of this genre
written in the first half
of the 18th century. In
his Messa de’
morti, Durante shows
great creativity in
combining traditional
elements of church music
with new ideas
originating from
instrumental writing and
opera. The quality and
originality of his
Requiem make it an
exciting rediscovery with
the potential to
establish itself as a
core repertoire work of
sacred choral
music. Mainly known
today as the teacher of
Pergolesi and Paisiello,
Durante spent much of his
life working as music
director at various
conservatories in Naples
and enjoyed great renown
as a church composer well
into the 19th century.
Despite its widespread
popularity, indicated by
the number of manuscript
copies to be found across
Europe, his Requiem never
appeared in print. For
this first publication,
editor and leading
British choral director
Stephen Darlington has
consulted many of the
approximately 50
surviving sources of the
work, presenting a
critical edition which
for the first time makes
Durante’s Requiem
available to a wider
musical
audience. - First
publication
- Urtex
t
edition
- Particula
rly suitable for smaller
choirs and ensembles:
soprano and alto solo,
double choir (SSATB ATB)
and strings (plus 2 horns
in the Tuba
mirum)
- Full score
and orchestral material
also available
(EP73044)
This edition of
Durante’s Requiem
has been recorded by
Stephen Darlington, with
Oxford’s Christ
Church Cathedral Choir,
soloists from The Sixteen
and Oxford Baroque.
$16.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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