Late Romanticism Clarinette et Piano EMB (Editio Musica Budapest)
Clarinet and Piano SKU: HL.50510423 200 Years of Clarinet Music. B...(+)
Clarinet and Piano
SKU: HL.50510423
200 Years of Clarinet
Music. By Berkes. By
Various. Edited by Kocsis
Berkes. Arranged by
Kocsis Berkes. Romantic.
EMB. Pedagogical
performance pieces. Book
Only. 51 pages. Editio
Musica Budapest #Z13973.
Published by Editio
Musica Budapest
(HL.50510423).
The
third volume of the
series provides
clarinettists with
material to play from the
era of the late and
post-Romanticism starting
from Debussy and Ravel
through Rachmaninov to
Kodaly. All arrangements
were successful items of
the common concerts of
the editors.
Piano SKU: HU.HN131 Composed by Frederic Chopin. Edited by Ewald Zimmermann. Pi...(+)
Piano
SKU: HU.HN131
Composed by Frederic
Chopin. Edited by Ewald
Zimmermann. Piano Solo,
Piano and Keyboard,
Repertoire, Solos.
Waltzes. Classical,
Romantic. Softcover Book.
112 pages. G. Henle
#HN131. Published by G.
Henle
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(4 Classics Arranged for Orchestra Bells, Vibraphone, and Marimba). Composed by ...(+)
(4 Classics Arranged for
Orchestra Bells,
Vibraphone, and Marimba).
Composed by Ludwig van
Beethoven (1770-1827).
Arranged by Brian
Slawson. For Mallet
Percussion. Book;
Percussion - Mallet
Instrument Trio; Trio.
Alfred�s
Percussion Performance
Series. Classical;
Masterwork Arrangement;
Romantic. 12 pages.
Published by Alfred Music
Two Symphonic Interludes Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-010 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000915-010
Composed by Harrie
Janssen. Set (Score &
Parts). Gobelin Music
Publications #GOB
000915-010. Published by
Gobelin Music
Publications
(BT.GOB-000915-010).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie, gebaseerd
op de taal van de gewone
man. Het was een reactie
op de aan strenge regels
gebonden poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
Two Symphonic Interludes Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-140 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000915-140
Composed by Harrie
Janssen. Score Only.
Gobelin Music
Publications #GOB
000915-140. Published by
Gobelin Music
Publications
(BT.GOB-000915-140).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie,
gebaseerd op de taal van
de gewone man. Het was
een reactie op de aan
strenge regels gebonden
poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
25 Easy Pieces for Clarinet and Piano. Composed by Various. Edited by Ulr...(+)
25 Easy Pieces for
Clarinet and Piano.
Composed by Various.
Edited by Ulrike
Warnecke. This edition:
Saddle stitching. Sheet
music. Woodwind Solo.
Klassik fur Kinder mochte
Klarinettenschuler an die
Schonheit der
Konzertliteratur des
Barocks, der Klassik und
der Romantik heranfuhren.
Die Stucke sind sehr
leicht bearbeitet und
konnen mit etwa 2 Jahren
Unterricht gut bewaltigt
werden; die dreigestrich.
German Edition,
Classical. Score and
part, Softcover. 21907.
68 pages. Schott Music
#ED21907. Published by
Schott Music
(HL.49044747).
Clarinet; Piano - very easy to easy SKU: HL.49045180 25 Easy Pieces fo...(+)
Clarinet; Piano - very
easy to easy
SKU:
HL.49045180
25
Easy Pieces for Clarinet
and Piano - Book and
CD. Composed by
Various. Edited by Ulrike
Warnecke. This edition:
Saddle stitching. Sheet
music with CD. Woodwind
Solo. Klassik fur Kinder
mochte Klarinettenschuler
an die Schonheit der
Konzertliteratur des
Barocks, der Klassik und
der Romantik heranfuhren.
Die Stucke sind sehr
leicht bearbeitet und
konnen mit etwa 2 Jahren
Unterricht gut bewaltigt
werden; die dreigestrich.
Classical. Softcover with
CD. 68 pages. Schott
Music #ED21150. Published
by Schott Music
(HL.49045180).
ISBN
9783795745813. UPC:
841886017276. Andreas
Schuermann.
'Klassi
k für Kinder' wants to
introduce clarinet pupils
to the beauty of Baroque,
Classical and Romantic
concert literature.
Cautiously, not only
original clarinet
literature was taken up,
but catchy tunes and
themes from the opera
(e.g. The Magic Flute)
and the concert hall
(Four Seasons, Capriccio
italien, and others) were
used as well. The edition
starts with a piece from
the Renaissance period,
followed by the great
composers of the Baroque,
European Classical and
Romantic eras and
completed by several
discoveries off the
common concert programmes
(Reinagel, Sullivan).
Four centuries of music
history which will make
the pupils enjoyclassical
music! The pieces are
presented in easy
arrangements and can be
mastered after about two
years of tuition, with
the three-line octave
being left out.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Adagietto Ensemble de Percussions [Conducteur et Parties séparées] - Intermédiaire Tapspace Publications
(from Symphony No. 5). By Gustav Mahler (1860-1911). Arranged by Jeffrey D. Grub...(+)
(from Symphony No. 5). By
Gustav Mahler
(1860-1911). Arranged by
Jeffrey D. Grubbs. For
percussion ensemble (5
players) (5 players).
This edition: Percussion
quintet. Concert
percussion ensembles.
Note: each marimba is
shared by two players.
Alternately, four
marimbas can be used..
Medium. Score and parts
on CD-Rom. 14 pages.
Duration 10:30
String Orchestra and Piano SKU: BT.EMBZ14253 By Lajos Vigh. By Arpad Pejt...(+)
String Orchestra and
Piano
SKU:
BT.EMBZ14253
By Lajos
Vigh. By Arpad Pejtsik.
EMB Music for Beginners.
Educational Tool. Book
Only. Composed 2000. 92
pages. Editio Musica
Budapest #EMBZ14253.
Published by Editio
Musica Budapest
(BT.EMBZ14253).
Hungarian-English-Germ
an-French.
The
volume comprises works by
classical and romantic
masters for beginners.
The chamber ensemble
includes violin, viola,
violoncello and piano,
but if the viola is
missing, its part can be
played by a second violin
from the version enclosed
in the appendix. The
string parts do not go
beyond the first
position. As opposed to
the basso continuo part
that children are less
fond of, the piano
assumes a soloistic role
alternating with the
strings. A certain part
of the pieces can already
be played after two years
of serious studies. The
colourful music
containing dance
movements and larger
forms alike offers
possibilities of common
music making for string
players andpianists.
From the Paris Conservatoire repertoire. Composed by Various. Edited by J...(+)
From the Paris
Conservatoire
repertoire. Composed
by Various. Edited by
Jutta
Puchhammer-Sedillot. This
edition: Saddle
stitching. Sheet music.
String. Classical. Score
and part, Softcover.
Composed 1896-1938.
22255. 92 pages. Schott
Music #ED22255. Published
by Schott Music
(HL.49045395).
Violin 1 part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-15
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Dances/marches; Romantic.
Part. 20 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-15.
Published by Breitkopf
and Haertel
(BR.OB-5273-15).
ISBN
9790004332498. 10 x 12.5
inches.
In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Folder.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Set of parts. 344 pages.
Duration 35'. Breitkopf
and Haertel #OB 5273-30.
Published by Breitkopf
and Haertel
(BR.OB-5273-30).
ISBN
9790004332542. 10 x 12.5
inches.
In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta
Overture;
Romantic. Part. 12 pages.
Duration 17'. Breitkopf
and Haertel #OB 5527-16.
Published by Breitkopf
and Haertel
(BR.OB-5527-16).
ISBN
9790004340776. 10 x 12.5
inches.
That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta
Overture;
Romantic. Part. 12 pages.
Duration 17'. Breitkopf
and Haertel #OB 5527-15.
Published by Breitkopf
and Haertel
(BR.OB-5527-15).
ISBN
9790004340769. 10 x 12.5
inches.
That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.
Organ SKU: HL.253940 Composed by Jan Rybarski. PWM. Classical. Softcover....(+)
Organ
SKU:
HL.253940
Composed by
Jan Rybarski. PWM.
Classical. Softcover. 32
pages. Duration 960
seconds. Polskie
Wydawnictwo Muzyczne
#11700010. Published by
Polskie Wydawnictwo
Muzyczne (HL.253940).
12.0x9.0
inches.
Jan
Rybarskis Fantasia for
Organ is a work of a
great emotional impact.
Its romantic dramaturgy
leads the listener into
the state of deep
reflections. The work is
monumental; its structure
resembles a one-part
sonata with a fugue in
the middle fragment. The
arrangement requires
organs with minimum 16-18
voices in two manuals.
Despite fast passages and
at times complicated
harmony that require a
lot of practice, the work
is played with comfort.
The author, as an
organist-practitioner,
uses difficult technical
elements that he controls
in a perfect manner. The
proportion of the
traditional and modern
harmonics is ideal, which
means it perfectly
corresponds to the
dramaturgy of the work.
The main formative
element is the rhythm
that - as the author
claims himself -
inspires, opens both the
performer and the
listener to the
experience. The structure
of the Fantasia brings
connotations to the
course of a human life,
with a film story that
apparently is different
for everyone, but conveys
one truth common to all
people: in order to
overcome difficulties,
you need to trust
God.
Viola part (picc.2.2.2.2.
- 4.2.3.0. - timp.perc -
str)
SKU:
BR.OB-5273-19
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 24 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-19.
Published by Breitkopf
and Haertel
(BR.OB-5273-19).
ISBN
9790004332511. 10 x 12.5
inches.
In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
Violoncello part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-23
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 26 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-23.
Published by Breitkopf
and Haertel
(BR.OB-5273-23).
ISBN
9790004332528. 10 x 12.5
inches.
In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
Double bass part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-27
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 20 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-27.
Published by Breitkopf
and Haertel
(BR.OB-5273-27).
ISBN
9790004332535. 10 x 12.5
inches.
In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music.
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta
Overture;
Romantic. Set of parts.
98 pages. Duration 17'.
Breitkopf and Haertel #OB
5527-30. Published by
Breitkopf and Haertel
(BR.OB-5527-30).
ISBN
9790004340813. 10 x 12.5
inches.
That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.