SKU: HL.338219

ISBN 9781540089021. UPC: 840126913378. 9.0x12.0x0.225 inches.

The Classical Piano Sheet Music Series includes compilations of intermediate level pieces, with an easy-to-use coil binding so the music lays flat, ensuring smooth page turns. Includes: ANONYMOUS: Minuet in C minor, BWV Appendix 121 • Minuet in D minor, BWV Appendix 132 • Minuet in G Major, BWV Appendix 116 • Musettein D Major, BWV Appendix 126 CARL PHILIPP EMANUEL BACH: March in D Major, BWV Appendix 122 • March in G Major, BWV Appendix 124 • Solfegietto in C minor, H. 220 JOHANN SEBASTIAN BACH: Invention No. 1 in C Major, BWV 772 • Invention No. 2 in C minor, BWV 773 • Invention No. 4 in D minor, BWV 775 • Prelude in C Major, BWV 846 • Prelude in C Major, BWV 924 • Prelude in C Major, BWV 939 • Prelude in C minor, BWV 999 • Prelude in D minor, BWV 926 WILHELM FRIEDMANN BACH: Allegro in A Major JOHN BLOW: Courante in C Major • Prelude in C Major ARCANGELO CORELLI: Gavotta in F Major FRANCOIS COUPERIN: Benevolent Cuckoos Under Yellow Dominos • Berceuse JEAN-FRANCOIS DANDRIEU: Lament LOUISE-CLAUDE DAQUIN: The Cuckoo GEORGE FRIDERIC HANDEL: Courante in G Major • Minuet in F Major • Rigaudon in G Major • Sarabande, HWV 437 JOHANN PACHELBEL: Sarabande in B-flat Major CHRISTIAN PETZOLD: Minuet in G Major, BWV Anh. 114 • Minuet in G minor, BWV Anh. 115 HENRY PURCELL: Suite No. 1 in G Major JEAN PHILIPPE RAMEAU: Tambourin ALESSANDRO SCARLATTI: Aria in D minor DOMENICO SCARLATTI: Minuet from Sonata in C Major, L. 217 (K. 73b, P. 80) • Sonata in A Major, L. 483 (K. 322, P. 360) • Sonata in A minor, L. 378 (K. 3) • Sonata in D minor, L. 423 (K. 32, P. 14) • Sonata in G Major, L. 79 (K. 391, P. 364) GEORG PHILIPP TELEMANN: Dance in G Major.

SKU: HL.14003062

ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish.

Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co.