Kottarainen Chorale SATB SATB A Cappella Alliance Music Publications
Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. ...(+)
Composed by Riika
Pietilainenen-Caffrey.
Edited
by Lawrence Kaptein.
Octavo.
Alliance Music
Publications
#AMP 1072. Published by
Alliance Music
Publications
Chorus (with soloists) and orchestra SKU: BR.PB-5652 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra
SKU:
BR.PB-5652
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5652.
Published by Breitkopf
and Haertel (BR.PB-5652).
ISBN 9790004215494.
10.5 x 14
inches.
The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites.
Voice and Piano SKU: BT.EMBZ20017A New Liszt Edition, Series IX. Vol.2...(+)
Voice and Piano
SKU:
BT.EMBZ20017A
New
Liszt Edition, Series IX.
Vol.2.. By David
Trippett. By Franz Liszt.
EMB New Listz Edition.
Classical. Book
Hardcover. Composed 2019.
180 pages. Editio Musica
Budapest #EMBZ20017A.
Published by Editio
Musica Budapest
(BT.EMBZ20017A).
English-German-Hungari
an.
In 1845 Franz
Liszt embarked on a
project to compose an
Italian opera based on
Lord Byron’s
tragedy, Sardanapalus
(1821). It was central to
his ambition to attain
status as a major
European composer, with
premieres variously
planned for Milan,
Vienna, Paris and London.
But he abandoned it half
way through, and the
music he completed has
lain silently for 170
years.
Liszt’s difficulty
in obtaining a libretto
meant that composition
only began in April 1850.
He completed virtually
all the music for Act 1
in an annotated
piano-vocal score of 111
pages, contained within
his N4 music
‘sketch
book’. The unnamed
librettist was an Italian
poet and political
prisoner, seemingly
living under house
arrest, and a close
acquaintance of Cristina
Belgiojoso. His libretto
survives as underlay in
the N4 sketchbook and has
been critically
reconstructed and
translated.
Sardanapalo is
Liszt’s only
mature opera. While he
consistently referred to
it in French, as
Sardanapale, the
published title of the
Italian opera would
almost certainly have
used the Italian name,
hence this forms the
title of the first
edition. There are three
solo roles and a chorus
of concubines. The
manuscript was previously
thought to be fragmentary
and partially illegible,
but it was finally
deciphered to
international acclaim in
March 2017.
Liszt’s score
offers a richly melodic
style, with elements from
Bellini and Verdi
alongside glimmers of
Wagner and the symphonic
poems ahead: a unique
mixture of Italianate
pastiche and mid-century
harmonic innovation. It
remains quintessentially
Lisztian. The opera sets
Byron’s tragedy
about war and peace in
ancient Assyria: the last
King, effeminate in his
tastes, is drawn to wine,
concubines and feasts
more than politics and
war: his subjects find
him dishonourable (a
‘man queen’)
and military rebels seek
to overthrow him, but are
pardoned, for the King
rejects the ‘deceit
of glory’ built on
others’ suffering:
this leads only to a
larger uprising, the
Euphrates floods its
banks, destroying the
castle’s main
defensive wall, and
defeat is inevitable: the
King sends his family
away and orders that he
be burned alive with his
lover, amid scents and
spices in a grand
inferno. As Byron put it:
‘not a mere pillar
formed of cloud and
flame, but a light to
lessen ages.’ For
his part, Liszt told a
friend that his finale
‘will even aim to
set fire to the entire
audience!’
This critical edition
includes a detailed study
on the genesis of
Liszt’s
Sardanapalo in English,
German, and Hungarian,
the libretto in the
original Italian as well
as in English, German,
and Hungarian
translation, several
facsimile pages of
Liszt’s
manuscript, and a
detailed Critical
Report.
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. 144 pages.
Published by Hal Leonard.
(Guitar TAB). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. The New Guitar T...(+)
(Guitar TAB). For Guitar.
Book; Guitar Mixed Folio;
Guitar TAB. The New
Guitar TAB Big Book.
Adult Contemporary; Folk;
Pop; Pop/Rock; Rock. 264
pages. Published by
Alfred Music
(75 Hits from the Golden Era of Top 40 (Guitar TAB)). For Guitar. Book; Guitar...(+)
(75 Hits from the Golden
Era
of Top 40 (Guitar TAB)).
For
Guitar. Book; Guitar
Mixed
Folio; Guitar TAB. The
Guitar Collection. Pop;
Pop/Rock; Rock. 256
pages.
Published by Alfred Music
ISBN
9790006523351. 33 x 24 cm
inches. Preface: Denis
Herlin. Text:
Charles-Antoine Leclerc
de La
Bruere.
“Dard
anus†is
Rameau’s third
“Tragdie
lyrique†composed
for Paris after
“Hippolyte et
Aricie†and
“Castor et
Polluxâ€. With its
multi-facetted music it
represents quite a high
point of this genre. Its
performance history is
remarkable in that within
only five years two
clearly different
versions were being
performed.
The new
critical edition by Denis
Herlin for the first time
offers the possibility to
reconstruct the version
of May 1744 in addition
to the version of 1739.
Also, the Appendices
include the complete
performance material of
the version of April
1744, many parts of which
could not be heard since.
Last but not least the
changes of the successful
re-staging of 1760 are
presented.
This
performing edition
contains all the purely
instrumental numbers of
the opera in their
various versions. Apart
from the preludes and
ritornellos, these are
above all the diverse
dance numbers.
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
Ligne De Mélodie, (Paroles) et Accords Hal Leonard
Celebrating the 100th Anniversary of Disney. Composed by Various. Lead Sheets...(+)
Celebrating the 100th
Anniversary of Disney.
Composed by Various. Lead
Sheets: Melody line,
lyrics
and chord symbols.
Disney,
Movies, Musicals.
Hardcover.
Published by Hal Leonard
Archduke. Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del...(+)
Archduke. Composed by
Ludwig
van Beethoven
(1770-1827).
Edited by Jonathan Del
Mar.
This edition: urtext
edition.
Hardback. Score, Part.
Opus
97. Baerenreiter Verlag
#BA10942. Published by
Baerenreiter Verlag
Piano SKU: HL.14032607 Composed by Joby Talbot. Music Sales America. 20th...(+)
Piano
SKU:
HL.14032607
Composed
by Joby Talbot. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
2005. 72 pages. Chester
Music #CH69718. Published
by Chester Music
(HL.14032607).
ISBN
9781846091599.
9.0x12.0x0.285
inches.
A
collection of solo Piano
arrangements of the
pieces from Once Around
The Sun, Joby Talbot's
musical journey through
one year. Jointly
commissioned by Classic
FM and The PRS Foundation
For New Music, this
exquisite set of mood
pieces was inspired by
the personal changes and
experiences across the
year, creating something
of a diary of the
composer's
creativity.
For Baritone and Piano. Composed by Stacy Garrop. Sws. Duration 6 minutes, 40 ...(+)
For Baritone and Piano.
Composed by Stacy Garrop.
Sws. Duration 6 minutes,
40
seconds. Theodore Presser
Company #111-40298.
Published
by Theodore Presser
Company
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S
Composed by Dan Welcher.
With Standard notation.
Duration 16 minutes.
Theodore Presser Company
#164-00212S. Published by
Theodore Presser Company
(PR.16400212S).
UPC:
680160037605.
Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher.
String Quartet SKU: HL.14022547 Composed by Nicola LeFanu. Music Sales Am...(+)
String Quartet
SKU:
HL.14022547
Composed
by Nicola LeFanu. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV120815.
Published by Music Sales
(HL.14022547).
ISBN
9780853607595.
This
quartet lasts about nine
minutes. Composed in
April 1996, it is
dedicated to the memory
of Nicola's father
William LeFanu
(1904-1995) and Elizabeth
Maconchy (1907-1994). The
quartet was commissioned
for the 1997 London
International String
Quartet Competition.
Study Score Orchestra; Score SKU: HL.14022192 For Orchestra Study Scor...(+)
Study Score Orchestra;
Score
SKU:
HL.14022192
For
Orchestra Study
Score. Composed by
Nico Muhly. Music Sales
America. Classical.
Softcover. 48 pages.
Duration 420 seconds. St.
Rose Music #SRO100009.
Published by St. Rose
Music (HL.14022192).
“So
To Speak is an extended
meditation on an anthem
for Pentecost by Thomas
Tallis entitled
Loquebantur Variis
Linguis (they spoke in
many tongues). After
organizing the material
for the piece, I wrote a
melody that works
against, underneath, and
above Tallis's lines to
create counterpoint made
of old and new elements.
Patterns of aggressive
woodwind scales and
ornaments evoke some of
the hysteria inherent in
glossolalia (ecstatic
speaking in tongues). The
central section of the
piece gestures towards an
insect-like musical and
religious fervor.â€
–Nico Muhly So To
Speak is scored for
orchestra and lasts seven
minutes. It is dedicated
to Amiel Melnick. This
piece was first performed
by the Juilliard
Orchestra in April 2004,
conducted by Jeffrey
Milarsky.
String Quartet SKU: HL.14022544 Composed by Nicola LeFanu. Music Sales Am...(+)
String Quartet
SKU:
HL.14022544
Composed
by Nicola LeFanu. Music
Sales America. Classical.
Book [Softcover]. 32
pages. Music Sales
#NOV120814. Published by
Music Sales
(HL.14022544).
ISBN
9780853607588.
8.25x11.75x0.162
inches.
This
quartet lasts about nine
minutes. Composed in
April 1996, it is
dedicated to the memory
of Nicola's father
William LeFanu
(1904-1995) and Elizabeth
Maconchy (1907-1994). The
quartet was commissioned
for the 1997 London
International String
Quartet Competition.
