E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 152 pages.
Published by Hal Leonard.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Gospel.
216 pages. 9x12 inches.
Published by Hal Leonard.
Choir Secular Double Choir and Violoncello SKU: PE.EP73479 Composed by Fr...(+)
Choir Secular Double
Choir and Violoncello
SKU: PE.EP73479
Composed by Francis Pott.
Choral Works (inc.
Oratorios). Edition
Peters. Living Composer.
Vocal Score. 164 pages.
Edition Peters
#98-EP73479. Published by
Edition Peters
(PE.EP73479).
ISBN
9790577019888. 297 x
210mm inches.
English.
At
First Light was
commissioned by Eric
Bruskin, a resident of
Philadelphia, USA, in
memory of his mother.
Eric had a longstanding
enthusiasm for my work,
and I was touched to be
the person he approached
for a task which is both
a privilege and a
daunting responsibility.
In a sense, no music can
ever measure up to the
weight of love or the
hope of consolation
vested in it under such
circumstances - but in
memory I carry the deaths
of both my own parents,
and I was able to draw
upon that. Eric's
fondness for my Cello
Sonata (itself written in
memoriam) led him to ask
that I include a solo
'cello part in the new
work - but his attachment
also to my polyphonic
sacred choral writing
meant that he wanted a
centrepiece which would
be both a showcase of
that approach and the
celebration of a life
well lived. Therefore,
the seven movements of At
First Light arrange
themselves as a series of
slow meditations
surrounding an exuberant
9-minute motet in which
the lamenting cello falls
temporarily
silent.
Eric's
Jewish faith meant that
approaching an agnostic
humanist brought up
within the Anglican
tradition was hardly free
of problems! Gradually,
though, I was able to win
his approval for a
collated mosaic of texts.
This embraces some
liturgical Latin
(necessary for the motet)
as the shared preserve of
broad western culture in
general, but balances it
with a secular approach
to loss, celebration,
remembrance and the many
shades of our mourning
those whom we see no
longer. Eric was adamant
that he did not want the
title Requiem; but what
has emerged is still a
form of semi-secular
Requiem in all but name,
taking its title instead
from a phrase in the poem
by Thomas Blackburn set
as the third movement.
This seemed to suggest
succinctly how the loss
of one very close to us
is an awakening into an
unfamiliar world where
everything is changed.
Following the exuberant
central movement, the
texts by the
Lebanese-born Kahlil
Gibran and the US,
Kentuckian poet Wendell
Berry first address the
departed loved one
directly, then place us
within an imaginary
funeral cortege, where
the perennial and
universal in human
experience become
personal without
subscribing explicitly to
any particular faith (or
lack of it). The final
text of all is a
translation of a Hebraic
prayer, requested and
provided by Eric Bruskin,
which serves to mirror
its Latin counterpart
heard at the
outset.
Throughout
, the lamenting cello
represents a commentary
on the experience
articulated in the text.
It evokes and, in a
sense, tries to embrace
and sanctify the
individual existential
journeys of the bereft,
as they in turn seek to
make their own sense of
what the short-lived
Second World War poet
Alun Lewis called 'the
unbearable beauty of the
dead' (movement
5).
In a modern
world hostage to ever
greater menace,
displacement, bloodshed
and anguish, I hope
fervently that this music
not only brings a measure
of solace to the person
who commissioned it, but
also makes its own small
contribution to bailing
out the sinking ship of
humanity.
Guitar SKU: UT.CH-387 Composed by Ferdinando Carulli. Edited by Romolo Ca...(+)
Guitar
SKU:
UT.CH-387
Composed by
Ferdinando Carulli.
Edited by Romolo
Calandruccio. Classical.
Score. Ut Orpheus #CH
387. Published by Ut
Orpheus (UT.CH-387).
ISBN 9790215328235. 9
x 12 inches.
Opus
114 is certainly one of
Carulliâ??s most
important didactic works,
so much so that the
author himself made a
point of writing in the
second edition of his
famous Method op. 27
(1819): The student, when
moving on to the second
part, must continue to
practise on the easy
pieces which are to be
found in opus nos. 50,
15, 35, 36, 93, 7 and
above all in opus 114. He
maintained this
indication also in later
editions of the Method
itself, unlike what he
did with other
collections of studies
which were no longer
recommended. The
purpose of op. 114, in
particular of the
preludes, is clearly
explained by the author
himself in the preface of
op. 265: I have already
offered preludes in my
opus nos. 71 and 114 to
people, but they serve to
study and learn to play
all sorts of difficult
passages, to practise
modulating, and learn to
improvise on the guitar.
Carulli seems to want to
provide his students with
a large handbook of
formulas typical of his
musical writing and he
does so by making use of
the keys which, in his
opinion, are most
congenial to the guitar.
In his Method he points
out: Each instrument has
its favourite keys: the
guitar can be played in
all keys, but the best
ones are: A major and
minor, D major and minor,
E major and minor, C, G,
F. The others are
difficult; [â?¦].
However, some of the
difficult ones are
included but only in the
fourth part. Of course,
the easiness of a key
essentially depends on
the possibility of
extensive use of the open
strings, especially in
the low notes, ensuring
the accompaniment on the
main degrees. This
edition has some unique
features. First of all,
it is the first complete
modern edition of
Carulliâ??s op. 114; it
presents an important
critical apparatus in
which the Carullian
technique is presented
and analysed; finally,
Carulli's original
fingering is indicated in
the score (including that
of the thumb of the left
hand) and the missing one
was obtained from the
comparison of his other
fingerings present in
other works. All this
allows an easy and
complete reading both for
those who perform the
pieces following the
nineteenth-century
performance practice with
a historical instrument,
and for those who play a
modern instrument.