Discover Exciting New Chords with Linear Harmonization. By Greg Cooper. Guitar....(+)
Discover Exciting New
Chords with Linear
Harmonization. By Greg
Cooper. Guitar. Book
only. With notes and
tablature. Size 9x12
inches. 72 pages.
Published by Centerstream
Publications.
Violin and Piano - Intermediate to Advanced SKU: FP.FZZ24 Composed by Var...(+)
Violin and Piano -
Intermediate to Advanced
SKU: FP.FZZ24
Composed by Various
Various. Published by
Forsyths Publications
(FP.FZZ24).
ISBN
979-0-57050-358-2.
An album of hidden gems
for violin by some of the
best British composers of
the modern era. Part of
the British Heritage
series dedicated to
increasing awareness of
the music of this
period.
3-part mixed choir and piano SKU: LO.15-3972H Composed by Glenda E. Frank...(+)
3-part mixed choir and
piano
SKU:
LO.15-3972H
Composed
by Glenda E. Franklin.
Choral. Concert, General.
Octavo. Heritage Music
Press #15/3972H.
Published by Heritage
Music Press
(LO.15-3972H).
ISBN
9780787778323.
Brig
ht and energetic, Glenda
E. Franklinâ??s
Three-part mixed setting
of the traditional
Jamaican folk song is
irresistible with its
Caribbean style and
optional percussion
instruments. The layering
of melodies in each voice
part makes this very
exciting to sing as the
parts come together and
separate into independent
lines. This is an
excellent piece to
improve your choirâ??s
harmony singing and
rhythmic awareness.
3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849)...(+)
3 Etudes pour la Methode
des
Methodes. Composed by
Frederic Chopin
(1810-1849).
Piano (Solo). The
Complete
Chopin - A New Critical
Edition. Score. Edition
Peters #EP73229.
Published
by Edition Peters
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-15. Published by
Breitkopf and Haertel
(BR.OB-5562-15).
ISBN
9790004342282. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
(Dizzy Dogs and Curious Cats). Composed by Dena C. Adams and Claire D. Clark. Bo...(+)
(Dizzy Dogs and Curious
Cats). Composed by Dena
C. Adams and Claire D.
Clark. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom;
Reproducible. This Is
Music!. 128 pages.
Published by Alfred Music
(Piano Exercises and Repertoire that Develop Colorful Tonal Qualities). Composed...(+)
(Piano Exercises and
Repertoire that Develop
Colorful Tonal
Qualities). Composed by
Joanne Haroutounian. For
piano. IPS: Interactive
Practice Studio.
Elementary. Book. 53
pages. Published by Neil
A. Kjos Music Company
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
Chorus (with soloists)
and orchestra (solos:
SSTB - choir: SATBSATB -
1.2.0.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.PB-5596-07
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
The
Missa in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Study Score.
188 pages. Duration 52'.
Breitkopf and Haertel #PB
5596-07. Published by
Breitkopf and Haertel
(BR.PB-5596-07).
ISBN
9790004214060. 6.5 x 9
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Der 100. Psalm Chorale SATB - Intermédiaire/avancé Carus Verlag
SATB chorus divisi, piano - Grade 4 SKU: CA.5293903 Composed by Max Reger...(+)
SATB chorus divisi, piano
- Grade 4
SKU:
CA.5293903
Composed
by Max Reger. Edited by
Christopher Grafschmidt,
Claudia Seidl. Gattungen
vokal: Sacred vocal
music. Vocal score. Op.
106. Duration 30 minutes.
Carus Verlag #5293903.
Published by Carus Verlag
(CA.5293903).
ISBN
9790007300272.
German.
Max
Reger’s setting of
Psalm 100 is one of the
“grand styleâ€
choral-symphonic works of
the classical modern
repertoire. Contrapuntal
skill in the tradition of
Bach combines with
overwhelmingly powerful
expressiveness, rich in
contrasts. The full
harmonic and stylistic
breadth of the early 20th
century sings out, not
only in frenetic song,
but also in the search
for awareness in quieter
passages. Reger’s
opulence, tonal and
contrapuntal almost
throughout, finally
culminates in a double
fugue with an off-stage
orchestra similar to the
trumpets of Jericho over
“Ein feste Burg ist
unser Gottâ€. The
composer’s
declared aim was:
“The psalm must go
so brilliantly, that all
will be simply
’bowled
over‘.â€.
2 Violoncelles (duo) [Partition] Alfred Publishing
2 Cellos. Composed by Samuel Applebaum. Duet or Duo; Solo Small Ensembles; Strin...(+)
2 Cellos. Composed by
Samuel Applebaum. Duet or
Duo; Solo Small
Ensembles; String
Orchestra
Method/Supplement. Book.
32 pages. Alfred Music
#00-EL02224. Published by
Alfred Music
Composed by
Bill Calhoun. Beginning
Performance Series. Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+2+8 pages. Duration
2 minutes, 42 seconds.
Carl Fischer Music
#BPS75. Published by Carl
Fischer Music (CF.BPS75).
ISBN 9780825892288.
UPC: 798408092283. 9 x 12
inches. Key: Bb
major.
Expressions
is a heartfelt
composition for beginning
band that will inspire
your young
students’ sense of
musicality. As the title
implies, this work is a
study in expression,
which challenges the
ensemble’s command
of breath support, tone
quality and intonation.
Its chorale-like nature
makes use of non-chord
tones to project its
emotion, asking each
performer to play with
maximum ensemble
awareness and
sensitivity. If you are
looking for that special
piece in the middle of
your program, Expressions
is sure to fulfill that
purpose.
Choral (Listening CD) SKU: HL.35020195 A Proclamation of Hope. Com...(+)
Choral (Listening CD)
SKU: HL.35020195
A Proclamation of
Hope. Composed by
Pamela Martin. Arranged
by Brant Adams. Shawnee
Press. Collection. CD.
Shawnee Press #PD0055.
Published by Shawnee
Press (HL.35020195).
UPC: 752478118021.
5.5x5.0x0.397
inches.
Featuring
music from an all-star
cast of composers:
Michael Cox, Patti
Drennan, David Friedman,
Jill Gallina, Alice
Gomez, W.T. Greer,
Stefania de Kenessey,
Rosephanye Powell, Joseph
M. Martin, Robert Seeley
Sing for the Cure is a
60-minute, 11-song,
choral collection with
full orchestration or
piano accompaniment.
Based on true stories of
breast cancer survivors,
the individual pieces are
powerful enough to be
used alone or grouped for
a mini-program. October
is Breast Cancer
Awareness Month; plan now
to honor the members of
your community whose
lives have been touched
by this struggle. The
work includes promotional
ideas to support this
life-changing work. Don't
miss the opportunity to
Sing for the Cure, and
celebrate the lives of
courageous women in your
community! Benefitting
Komen for the Cure.
By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with in...(+)
By Chuck Sher . For Bass.
A complete method book,
over 200 pages, filled
with information and
exercises on all aspects
of bass playing, for both
acoustic and electric
bass. Method. Published
by Sher Music Company.
SKU: HL.1139324 For SATB Choir, Narration and Instrumental Ensemb...(+)
SKU:
HL.1139324
For
SATB Choir, Narration and
Instrumental
Ensemble. Composed by
Isabelle Aboulker. Vocal.
Softcover. Alphonse Leduc
#AL30921. Published by
Alphonse Leduc
(HL.1139324).
ISBN
9781705183939. UPC:
196288114888.
Defen
ders of the oppressed and
fighters against
injustice, Victor Hugo
and Emile Zola often put
their genius to the
service of great causes:
the abolition of the
death penalty and child
labor, the advancement of
women in society, the
awareness of the Dreyfus
affair... Conceived in
the same years and under
the same sky, the much
less profound words of
Baroness Staffe in her
manual of good manners,
vehemently denounce both
the wearing of white
socks and the dangers of
orientalism. This musical
chronicle will educate
and intrigue middle and
high school students and
amuse adults as well.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Piano SKU: SU.12900010 For Piano. Composed by Hannah Reimann. Keyb...(+)
Piano
SKU:
SU.12900010
For
Piano. Composed by
Hannah Reimann. Keyboard,
Piano/Harpsichord. Music
Theory, Childrenâ??s
Music. Score. Subito
Music Corporation
#12900010. Published by
Subito Music Corporation
(SU.12900010).
This is a
colorful picture book of
musical games and
exercises and features
first piano pieces at the
earliest reading level
for children ages 4-9.
Each musical element is
introduced in a clear,
interactive way,
providing opportunities
for the child to bond
with a parent and/or
instructor. Quarter
notes, half notes, eighth
notes and quarter rests
are taught experientially
with Rhythm Games and
some favorite tunes like
My Dreidel and Jingle
Bells can be learned
quickly with awareness of
skills of pitch
differentiation, rhythm
and fingering. The book
starts with simpler
character pieces, some
with only two or three
notes. The cheery and
charming illustrations
make this a fun musical
ride. Staves are
introduced in the
following book of the
same series. Illustrated
by Lisa Kaiser Piano
Composed: 2020 Published
by: Hannah Reimann
Innovations, LLC.
(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano So...(+)
(A Fresh Approach to
Piano Sight-Reading). By
Alan Bullard (1947-). For
Piano Solo. Studies.
Education. Grade 5. Sheet
Music. 50 pages.
Published by ABRSM
(Associated Board of the
Royal Schools of Music)
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
SKU: BR.SON-501 Die Rundkopfe u.die Spitzkopfe. Composed by Hanns ...(+)
SKU: BR.SON-501
Die Rundkopfe u.die
Spitzkopfe. Composed
by Hanns Eisler. Edited
by Th. und A. Dumling
Ahrend. Hardback.
Complete Works.
Awarded the German
Music Edition Prize
2003
Early modern;
Music post-1945. Complete
Works. 184 pages.
Breitkopf and Haertel
#SON 501. Published by
Breitkopf and Haertel
(BR.SON-501).
ISBN
9790004802236. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Piano SKU: BT.9780713653632 Composed by Jane Sebba. Method. Book Only. 24...(+)
Piano
SKU:
BT.9780713653632
Composed by Jane Sebba.
Method. Book Only. 24
pages. Collins Music
Publishing
#9780713653632. Published
by Collins Music
Publishing
(BT.9780713653632).
ISBN
9780713653632.
T
his is a collection of
duets for beginner pupils
which support Piano
Magic Tutor Books 1.
They shadow the
progression of note
learning and technique in
the parent tutors and
provide additional
repertoire at key
stagesof development.
They are intended to
provide ensemble
experience and practice
in the all-important
skill of 'keeping
going''. Some of the
duets may be taught by
rote to develop aural
awareness; others focus
on note
reading,improvisation and
composition. With Full
colour diagrams and
illustrations
throughout.
Piano SKU: A2.S034 Composed by Hans Samuel. Edited by Tina Fruhauf. Score...(+)
Piano
SKU: A2.S034
Composed by Hans Samuel.
Edited by Tina Fruhauf.
Score. Published by A-R
Editions (A2.S034).
ISBN
978-0-89579-775-9. 8.5x11
inches.
This
edition includes three
piano works by the
German-Jewish composer
Hans Samuel (1901-76),
who was active primarily
as an organist and
composer of organ music.
The selected works -
Hassidic Hanukkah Tune:
Al hanissim we al
hapurkan (1946), Sounds
of Slichoth: Paraphrases
on S'lichoth Tunes
According to the
Ashkenas-Western Mode
(1957, dedicated to the
composer's parents, who
perished in
Theresienstadt), and
Variations on a Yemenite
Tune (undated) - were
composed after Samuel's
emigration to Palestine
in 1939. Besides
exemplifying the
heightened awareness of
diverse Jewish musical
traditions that
characterizes Samuel's
music after his
emigration, these works
are representative of
Israeli immigrant
composers' early
struggles to attempt to
define their new nation
musically.