Beautiful Dreamer Chorale 3 parties SSA, Piano [Octavo] E. Henry David
Composed by Stephen Foster (1826-1864). Arranged by David Dusing. For SSA choir,...(+)
Composed by Stephen
Foster (1826-1864).
Arranged by David Dusing.
For SSA choir, Keyboard.
Octavo. 6 pages. E. Henry
David #392-02588.
Published by E. Henry
David
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.
288 pages. 9x12 inches.
Published by Hal Leonard.
Violin Abc Violon et Piano EMB (Editio Musica Budapest)
Violin and Piano (VIOLIN AND P) SKU: HL.50487758 Violin Tutor for begi...(+)
Violin and Piano (VIOLIN
AND P)
SKU:
HL.50487758
Violin
Tutor for beginners using
children's and folksongs
from all over the
world. Composed by
Judit Reger Jozsefne
Szasz, Laszlo Denes, and
Rudolf Nemeth. EMB.
Method, Tutor. Book Only.
122 pages. Editio Musica
Budapest #Z14098.
Published by Editio
Musica Budapest
(HL.50487758).
ISBN
9790080140987.
9.0x12.0x0.31 inches.
Hungarian, English,
German.
Violin ABC
is the perfect volume for
pupils to familiarize
themselves with the
instrument, basic musical
elements, and the
sensation of moving
naturally while playing.
Its editors comprise
renowned Hungarian
experts in the field of
violin pedagogy, and
their aim was to create a
publication that allows
children to have a joyous
first encounter with the
violin. Violin ABC helps
students learn to have
calm, relaxed posture and
movements through playful
illustrations. That way,
those who want to play
the violin can get a
worthwhile introduction
to the basics of the
violin repertoire through
various folk songs and
beautiful music
examples.The legendary
violinist, Yehudi Menuhin
(1916 - 1999), had this
to say about the
publication: ''I am
delighted to see a work
on the teaching of the
violin stress the
importance of the
preparation of our body
and limbs, of our minds
and our soul,
independently of the
instrument itself. I have
always said that,
ideally, I would like the
preparation to be so
complete and thorough and
enjoyable, that when a
child first picks up a
violin and a bow, it will
draw a clean sound.')' -
Yehudi Menuhin (1916 -
1999).
Band Concert Band - Grade 2 SKU: CF.YPS103 Composed by Larry Clark. Colla...(+)
Band Concert Band - Grade
2
SKU: CF.YPS103
Composed by Larry Clark.
Collate - FS SWS - spine:
19/32 or .593. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+4+6+6+4+1+2+8+24
pages. Duration 3
minutes, 37 seconds. Carl
Fischer Music #YPS103.
Published by Carl Fischer
Music (CF.YPS103).
ISBN 9780825884832.
UPC: 798408084837. 9 x 12
inches. Key: Eb
major.
Dance of the
Harlequins is a
dance-like composition
that uses the harmonic
progression of the famous
Pachelbel Canon as its
basis. Depicting the
painted, jerky harlequin
clown, it is at times
playful, and others,
simply beautiful. The
familiarity of the famous
bass line makes this work
feel comfortable and
pleasurably original at
the same time, and your
groups will love the new
spin on the Pachelbel
Canon.
Arioso Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1002058-010 Composed by Johan...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1002058-010
Composed by Johann
Sebastian Bach. Arranged
by Jacob De Haan. Your
Favorite Classics.
Festive and Solemn Music.
Set (Score & Parts).
Composed 2000. De Haske
Publications #DHP
1002058-010. Published by
De Haske Publications
(BT.DHP-1002058-010).
Even the most
basic understanding of
Western music must
include an intimate
familiarity with the
magnificent body of works
by J.S.Bach. The charming
beauty of the ARIOSO from
BWV 156 must almost
certainly appear on
anyone?s personal list of
the world's most
beautiful melodies. What
a wonderful vehicle for
the study of artful
phrasing and expression!
Don't let the Grade 2
designation make you
overlook this exquisite
rendition for bands that
normally play at grades
4, 5, and 6. Musicians at
any level of ability will
find great rewards
here.As the perfect
festival centerpiece or
as a lovely introspective
moment on any concert,
Jacob de Haan's touching
arrangement of
Bach'sincomparable
ARIOSO, speaking its own
inherent and spiritual
truth, is sure to find a
permanent home in your
concert band library.
Viele der
zahlreichen Werke von
Johann Sebastian Bach
sind bis heute bei einem
großen Publikum
bekannt und beliebt.
Hierzu zählen die
Matthäus-Passion, das
Weihnachtsoratorium und das Air aus
der dritten
Orchestersuite. Das
Arioso aus BWV 156
gehört ebenfalls zu
seinen bekanntesten
Kompositionen. Jacob de
Haan arrangierte dieses
Werk, ohne den Charakter
des Originals zu
verfälschen. In einer
abwechslungsreichen
Instrumentierung kommt
die Schönheit dieser
Musik voll und ganz zur
Geltung.
Composed by Richard Yates. For guitar (acoustic). Squareback saddle stitch. Inte...(+)
Composed by Richard
Yates. For guitar
(acoustic). Squareback
saddle stitch.
Intermediate. Book and
online audio. Published
by Mel Bay Publications,
Inc
Arioso Ensemble de cuivres - Facile De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-1002058-030 Composed by Johann Sebastian...(+)
Brass Band - Grade 2
SKU:
BT.DHP-1002058-030
Composed by Johann
Sebastian Bach. Arranged
by Jacob De Haan. Your
Favorite Classics.
Festive and Solemn Music.
Set (Score and Parts).
Composed 2000. De Haske
Publications #DHP
1002058-030. Published by
De Haske Publications
(BT.DHP-1002058-030).
Even the most
basic understanding of
Western music must
include an intimate
familiarity with the
magnificent body of works
by J.S.Bach. The charming
beauty of the ARIOSO from
BWV 156 must almost
certainly appear on
anyone?s personal list of
the world's most
beautiful melodies. What
a wonderful vehicle for
the study of artful
phrasing and expression!
Don't let the Grade 2
designation make you
overlook this exquisite
rendition for bands that
normally play at grades
4, 5, and 6. Musicians at
any level of ability will
find great rewards
here.As the perfect
festival centerpiece or
as a lovely introspective
moment on any concert,
Jacob de Haan's touching
arrangement of
Bach'sincomparable
ARIOSO, speaking its own
inherent and spiritual
truth, is sure to find a
permanent home in your
brass band library.
Viele der
zahlreichen Werke von
Johann Sebastian Bach
sind bis heute bei einem
groÃ?en Publikum bekannt
und beliebt. Hierzu
zählen die
Matthäus-Passion, das
Weihnachtsoratorium und das Air aus
der dritten
Orchestersuite. Das
Arioso aus BWV 156
gehört ebenfalls zu
seinen bekanntesten
Kompositionen. Jacob de
Haan arrangierte dieses
Werk, ohne den Charakter
des Originals zu
verfälschen. In einer
abwechslungsreichen
Instrumentierung kommt
die Schönheit dieser
Musik voll und ganz zur
Geltung.
Donar Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1175742-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1175742-010
Composed by Jan Van der
Roost. Brilliant Marches.
Concert Piece. Set (Score
& Parts). Composed 2017.
De Haske Publications
#DHP 1175742-010.
Published by De Haske
Publications
(BT.DHP-1175742-010).
English-German-French-
Dutch.
This noble
concert march was
commissioned by the
Musikverein Heek,
Germany, for its 125th
anniversary. In German
mythology, Donar
is the God of Thunder,
and in the area around
Heek, ‘Thunder
Mountain’ is a
household name. The work
begins with a stately
opening, followed by a
beautiful trio melody
with rhythmical and
energetic sections. This
is a march that features
and showcases a range of
musical aspects. It is
perfect as an opener or
to create variety during
a concert.
Deze
nobele concertmars werd
geschreven in opdracht
van de Duitse Musikverein
Heek, ter gelegenheid van
het 125-jarig bestaan van
deze vereniging in 2017.
De première vond onder
leiding van de componist
op 2 september plaats in
de gemeente Heek.
Donar is de
dondergod uit de
Germaanse mythologie en
er is een specifieke
reden voor de keuze van
deze naam: in de regio
rond Heek is de
‘Donderberg’
een begrip, zodat deze
titel zeer toepasselijk
is. Het lage register
komt een paar keer
duidelijk op de voorgrond
om de donder en bliksem
weer te geven. Het werk
begint echter met een
plechtstatige
‘entree’ een
godheid waardig! De
triomelodie daarentegen
is naar de
loffelijkegewoonte van
Jan Van der Roost
zangerig en melodieus.
Kortom: dit is een mars
die diverse muzikale
aspecten bevat en
etaleert.
Dieser
prachtvolle Konzertmarsch
wurde vom Musikverein
Heek aus Deutschland
anlässlich seines
125-jährigen Bestehens
in Auftrag gegeben. In
der germanischen
Mythologie ist
Donar“ der Gott des
Donners, und in der
Gegend um Heek ist
Donnerberg“ ein
gebräuchlicher
Begriff. Das Werk beginnt
mit einer
majestätischen
Einleitung, gefolgt von
einer wunderschönen
Trio-Melodie mit
rhythmischen und
schwungvollen
Abschnitten. In diesem
Marsch werden
verschiedene musikalische
Aspekte verwendet. Er
eignet sich bestens als
Eröffnungsstück
oder um während eines
Konzertes für
Abwechslung zu
sorgen.
Questa
elegante marcia da
concerto è stata
commissionata dal
Musikverein di Heek in
Germania per il suo
125° anniversario.
Nella mitologia tedesca
Donar è il
Signore dei Tuoni e
nell’area intorno
ad Heek ‘Thunder
Mountain’ è un
nome familiare.
L’opera inizia con
un’introduzione
maestosa, seguita da un
bellissimo trio melodico
dalle sezioni ritmiche ed
energiche. Questa marcia
presenta una vasta gamma
di aspetti musicali ed
è perfetta come brano
d’apertura o per
creare variet
all’interno di un
concerto.
Composed by Larry Clark.
SWS. Young Performance
Series. Full score. With
Standard notation. 24
pages. Duration 3
minutes, 37 seconds. Carl
Fischer Music #YPS103F.
Published by Carl Fischer
Music (CF.YPS103F).
ISBN 9780825884849.
UPC: 798408084844. 9 x 12
inches. Key: Eb
major.
Dance of the
Harlequins is a
dance-like composition
that uses the harmonic
progression of the famous
Pachelbel Canon as its
basis. Depicting the
painted, jerky harlequin
clown, it is at times
playful, and others,
simply beautiful. The
familiarity of the famous
bass line makes this work
feel comfortable and
pleasurably original at
the same time, and your
groups will love the new
spin on the Pachelbel
Canon.
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
(An Alfred Classical Guitar Masterworks Edition). Composed by Francisco Tá...(+)
(An Alfred Classical
Guitar
Masterworks Edition).
Composed by Francisco
Tárrega. For Guitar.
Book;
Classical Guitar Folio;
Masterworks. Classical
Guitar Masterworks.
Masterwork Arrangement;
Romantic. 24 pages.
Published by Alfred Music
Song of
the Auvergne.
Composed by Kevin
Thompson. Band Music.
Score and parts. Duration
3:30. Published by G & M
Brand Music Publishers
(CN.R10104).
This beautiful
song reflects the
tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing.
This
beautiful song reflects
the tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing. Professor Kevin
Thompson is Principal and
Chief Executive of
Dartington College of
Arts, a University Sector
institution dedicated to
the performance
arts.After undergraduate
studies at the Royal
Northern College of
Music, he gained masters
and subsequently doctoral
degrees at the University
of London. He began his
career as a professional
trumpet player,
conductor, composer and
teacher. He was the
architect of University
of Salford's degree in
band musicianship,
launched in 1987 and the
first of its kind. From
1988 - 1993 he was
Principal of Birmingham
Conservatoire and during
this time was elected to
a personal professorship
and subsequently a
Deanship chair.On his
arrival at Dartington, he
was made an honorary
Professor by the
University of Plymouth.
In 1992 he gained a
Winston Churchill
Fellowship to study the
Great American Music
Schools: Juilliard,
Curtis, Eastman, Indiana.
Other awards include
those of the British
Association for American
Studies and the British
Council for the Royal
Danish Academy of Music.
He is a Freeman of the
City of London. His
publications include a
book on brass and wind
bands published by
Cambridge University,
many articles in Times
Newspaper and other
leading British and
American journals. The
book on wind and brass
bands became a key text
in many college and
university reading lists
and was read extensively
throughout the English
speaking world,
particularly in North
America and the Pacific
Rim. He is joint editor,
with Dr Gordon Cox of the
new eleven volume series
on brass playing and
teaching and author of
two of the volumes.
Song of
the Auvergne.
Composed by Kevin
Thompson. Band Music.
Score only. Duration
3:30. Published by G & M
Brand Music Publishers
(CN.S11104).
This beautiful
song reflects the
tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing.
This
beautiful song reflects
the tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing. Professor Kevin
Thompson is Principal and
Chief Executive of
Dartington College of
Arts, a University Sector
institution dedicated to
the performance
arts.After undergraduate
studies at the Royal
Northern College of
Music, he gained masters
and subsequently doctoral
degrees at the University
of London. He began his
career as a professional
trumpet player,
conductor, composer and
teacher. He was the
architect of University
of Salford's degree in
band musicianship,
launched in 1987 and the
first of its kind. From
1988 - 1993 he was
Principal of Birmingham
Conservatoire and during
this time was elected to
a personal professorship
and subsequently a
Deanship chair.On his
arrival at Dartington, he
was made an honorary
Professor by the
University of Plymouth.
In 1992 he gained a
Winston Churchill
Fellowship to study the
Great American Music
Schools: Juilliard,
Curtis, Eastman, Indiana.
Other awards include
those of the British
Association for American
Studies and the British
Council for the Royal
Danish Academy of Music.
He is a Freeman of the
City of London. His
publications include a
book on brass and wind
bands published by
Cambridge University,
many articles in Times
Newspaper and other
leading British and
American journals. The
book on wind and brass
bands became a key text
in many college and
university reading lists
and was read extensively
throughout the English
speaking world,
particularly in North
America and the Pacific
Rim. He is joint editor,
with Dr Gordon Cox of the
new eleven volume series
on brass playing and
teaching and author of
two of the volumes.
Sweet & Easy Guitare - Facile De Haske Publications
Guitar - early intermediate SKU: BT.DHP-1033375-401 26 Easy Pieces for...(+)
Guitar - early
intermediate
SKU:
BT.DHP-1033375-401
26 Easy Pieces for
Classical Guitar.
Composed by Herman Smies.
Educational Tool. Book
Only. Composed 2003. 32
pages. De Haske
Publications #DHP
1033375-401. Published by
De Haske Publications
(BT.DHP-1033375-401).
ISBN 9789043117821.
International.
Swee
t and Easy is filled with
easy-to-play pieces for
the beginner in which the
composer has created a
world full of beautiful
guitar sounds. This
pleasant introduction to
your first performance
pieces will provide
endless enjoyment. So
take your guitar and get
started.
Leichte
Gitarrenstücke als
ideale Ergänzung
zueiner
Gitarrenanfängerschule
.Die Stücke sind mehr
oder weniger im
Schwierigkeitsgradan
steigend. Der Gitarrist
lernt sowohl offene als
auch gegriffene Bassnoten
im freien und im
Tirando-Anschlag zu
spielen. Damit wird
Schritt für Schritt
die Technik verbessert.
Sweet & Easy ist
ein zugleich
unterhaltsames und
lehrreiches Spielbuch
für junge Gitarristen.
Sweet &
Easy è una
raccolta di brani facili
e ricchi di colori
musicali, destinati ai
giovani chitarristi. Le
26 canzoni vi
permetteranno di
familiarizzare con i
primi recital che vi
piacerebbe mettere in
scena. Proposti in ordine
di difficolt , i brani
favoriscono
l’apprendimento
della tecnica, e fanno
usare prima i bassi vuoti
e poi premuti, la tecnica
del pizzicato e del
tirando.
String quartet SKU: HH.HH462-FSP Composed by Ming Wang. String Quartet. F...(+)
String quartet
SKU:
HH.HH462-FSP
Composed
by Ming Wang. String
Quartet. Full score and
parts. Edition HH Music
Publishers #HH462-FSP.
Published by Edition HH
Music Publishers
(HH.HH462-FSP).
ISBN
9790708146711.
Cica
da larvae live
underground for years,
creeping about slowly and
peacefully in the
darkness until that
sudden, beautiful brief
moment when, one warm,
damp summer’s eve,
they emerge,
metamorphosed into a
highly mobile life form.
Gaily they dance in the
sunshine, singing
ardently to the trees in
all their greenery ---
but only for a short
while, for, just as
suddenly, they are gone.
The same process repeats
year upon year. The life
cycle of this string
quartet resembles that of
the cicada. Initially,
two embryonic cells
remain hidden within
dense, gloomy
note-clusters; over time
they evolve into buds,
grow and then blossom.
They appear for the first
time in their adult form
in the fast middle
section, where they
assume the shape of two
very popular Chinese folk
melodies, Jasmine and Old
Six Blows, albeit in
wholly chromaticized and
defamiliarized variants.
After their grand
efflorescence, these
forms gradually dissolve
into transparent wisps of
sound.
Symphony No. 3 for
Wind Orchestra CD.
Composed by Franco
Cesarini. Editions Franco
Cesarini. Classical,
Concert. Softcover. Hal
Leonard #EFC019-CD.
Published by Hal Leonard
(HL.4008672).
ISBN
9798350115215. UPC:
196288190028.
A CD
that includes four great
works by Franco Cesarini
performed by the Civica
Filarmonica di Lugano
under the direction of
the Maestro. Passacaglia
and Fugue in C-minor BWV
582 In Franco
CesariniÂ’s
arrangement for large
wind orchestra, the
particularly careful
interpretation of the
original piece enables
him to exploit all the
sound colors at his
disposal, and in this
sumptuous guise Bach's
work also takes on a
grandiose dimension,
albeittinged with
late-Romanticism. A
masterpiece by Johann
Sebastian Bach superbly
arranged for wind
orchestra. Sinfonietta
No. 3
“Zwölfmalgreien
Sketchesâ€, Op. 56
In composing the
Sinfonietta No. 3 ,
Franco Cesarini was
inspired by the history
of the municipality of
Zwölfmalgreien, made
up of various towns,
villages and scattered
districts which were
incorporated to the City
of Bolzano (Italy) over
one hundred years ago.
The peculiarity of these
places, different from
each other, but all
characterized by rare
beauty, have contributed
to create this
3-mouvement work (City
Life, Mountain Shadows
and Classic Wineyards),
which translates into
music the activities of
the villages, the winter
days and the lively
atmosphere in the wine
regions. A perfect trip
to this wonderful part of
Italy! Suite Siciliana,
Op. 57b The Suite
Siciliana, a 7-movement
piece - Intrada , Pavana,
Gavotta, Barcarola ,
Tambourin , Sicilianaand
Tarantella - is
characterised by
contrasting rhythms and
tempo and consists of
these 7 dances. The
musical form, typical of
the Baroque period,
refers to some
traditional expressions
of art from the land of
Sicily: ranging from the
rich architecture of the
Sicilian Baroque to the
colorful majolica
ceramics and the
characteristic puppets,
the “pupiâ€,
which narrate a secular
tradition. A full
immersion into ancient
traditions of this
beautiful island!
Symphony No. 3
“Urban
Landscapesâ€, Op. 55
Fascinated by the beauty
of Chicago, Franco
Cesarini has translated
his emotions into music:
this is how was born
Symphony No. 3
“Urban
Landscapes†, a
musical portrait of this
metropolis overlooking
Lake Michigan. The
composition is divided
into three movements -
The Wrigley Building from
Dawn to Noon , Blue
Silhouette and Cloud Gate
- which by sharing the
same thematic material
arranged in cyclical
form, strengthen the
overall cohesion of the
piece. Symphony No. 3
“Urban
Landscapesâ€, a
sumptuous musical
portrait of the
“Windy Cityâ€.
Civica Filarmonica di
Lugano Since its
foundation in 1830,
Civica Filarmonica di
Lugano has performed at
diverging events, varying
from large gatherings to
international jury
performances. The Civica
Filarmonica di Lugano is
one of SwitzerlandÂ’s
oldest and most
prestigious music
societies and consists of
approximately 70
musicians.The Civica
Filarmonica gives about
20 concerts a year, both
at the city's concert
halls and the Piazza
della Riforma, the square
in Lugano that.
This is how tango should sound! The first decades in the history of this music b...(+)
This is how tango should
sound! The first decades
in the history of this
music brought some of its
most beautiful and famous
pieces. The arrangements
from tango pianist J. M.
Solare enable players who
are not familiar with the
tango style to makethese
pieces sound absolutely
authentic.
Contents :
Por una cabeza (Gardel)
• La viruta (Greco)
• Mi Buenos Aires
querido (Gardel) •
Naipe marcado (Greco)
• El Marne (Arolas)
• Don Juan (Ponzio)
• Volver (Gardel)
• El porteñito
(Villoldo) • La
cachila (Arolas) •
El dia que me
quieras(Gardel).
So muss Tango
klingen! In den ersten
Jahrzehnten in der
Geschichte dieser Musik
entstanden einige ihrer
schönsten und
bekanntesten Werke. Mit
den Arrangements des
Tangopianisten J. M.
Solare wird es nun auch
den im Tango unerfahrenen
Spielernmöglich, sie
absolut authentisch zum
Klingen zu bringen.
Inhalt: Por una cabeza
(Gardel) • La
viruta (Greco) • Mi
Buenos Aires querido
(Gardel) • Naipe
marcado (Greco) •
El Marne (Arolas) •
Don Juan (Ponzio) •
Volver (Gardel) •
El porteñito
(Villoldo) • La
cachila (Arolas) •
El dia que me quieras
(Gardel).
Sommaire
: Por una cabeza (Gardel)
• La viruta (Greco)
• Mi Buenos Aires
querido (Gardel) •
Naipe marcado (Greco)
• El Marne (Arolas)
• Don Juan (Ponzio)
• Volver (Gardel)
• El porteñito
(Villoldo) • La
cachila (Arolas) •
El dia que me
quieras(Gardel).
Questo è il
vero suono del tango! I
primi decenni della
storia di questa musica
ci hanno regalato alcune
delle canzoni più
belle e pezzi famosi. Gli
arrangiamenti del
pianista di tango J.M.
Solare aiutano i
musicisti che non hanno
familiarit con liltango,
ad interpretare in modo
autentico questa musica.
Include tanghi di E.
Arolas, C. Gardel, A.
Greco, V. Greco, E.
Ponzio, e A. Villoldo.
Indice: Por una cabeza
(Gardel) • La
viruta (Greco) • Mi
Buenos Aires querido
(Gardel) • Naipe
marcado (Greco) •
El Marne (Arolas) •
Don Juan (Ponzio) •
Volver (Gardel) •
El porteñito
(Villoldo) • La
cachila (Arolas) •
El dia que me quieras
(Gardel)
Durkle Bandrydge Suite Ensemble de cuivres [Conducteur et Parties séparées] - Débutant Gobelin Music Publications
Brass Band - Grade 1.5 SKU: BT.GOB-000726-030 Composed by Bruce Fraser. S...(+)
Brass Band - Grade 1.5
SKU:
BT.GOB-000726-030
Composed by Bruce Fraser.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000726-030. Published by
Gobelin Music
Publications
(BT.GOB-000726-030).
Durkle
Bandrydge is the name of
the composers imaginary
world, but it could very
well be anyones invisible
dream world with a
different name. In this
very versatile suite by
Bruce Fraser, 8
characters are featured,
each with its
ownpeculiarities, making
Durkle Bandrydge such a
colourful place. Do these
characters differ that
much from us? That is for
you to find out! In the
last part, all characters
come together in a
special
way.
Durkle
Bandrydge exists at the
end ofyour street. It is
invisible to humans, but
Durkle Bandrygators can
watch us with great
interest. The music
will introduce you to
some of the characters
who live in this unusual
place.
The
parts: Somnanbulyss,
who is a giant
trollguarding the
entrance to Durkle
Bandryde. At least, he is
supposed to, but he tends
to sleep most of the
time. His music is
therefore very slow
moving and
sleepy.
Long
Gwysteen is a tall,
mysterious, and somehow
sophisticated
character,who walls
around with a shell on
his back. His music
glides along rather
gracefully.
Squelfitch is a rather
unpleasant and smelly
character who lives in a
bog, which is why his
music sounds rather slimy
and a bit like trying to
walkthrough
quicksand.
Perfydlia is a meddling
old woman, who gossips
about everybody and
squeals with sudden
delight at the small
exciting bits of
tittletattle about others
in the village. In the
music you can hear her
sudden little squealsof
delight.
Maryann
Lovely is a beautiful
young lady, graceful,
gorgeous, absolutely
devine, and her music is
obviously just the
same.
Thistledoo
Nicely is a lively
character who spends and
spends and spends with
her credit card,buying
the latest fashion and
never worries about
having to pay the bills.
Her music reflects her
excitement when shopping
and het ‘happy go
lucky’ approach to
life.
Marsyn
Edginton is the Lord of
the manor, the richest
man in town, the‘big
cheese’, the man with
all the power and, of
course, the biggest
house. He is very grand
and his music like he
could be a king.
Jimmy McScotsmyn is a red
haired scotsman wearing
tartan cap. He misses his
home country terribly and
eatslots of shortbread,
oatcakes, scotch eggs,
porridge and drinks an
enormous amount of Scotch
Wisky, which helps him to
have fond memories of the
kind of music he would
like to dance to when he
was a younger man. His
favourite dance is a Jig
andthis is the music he
remembers.
Grand
March of the Durkle
Bandrydgators. We hope
that you have enjoyed
meeting these characters
from Drukle Bandrydge and
would invite you to
listen to all the
villagers now march along
in a grand parade -it is
a pity that you can not
see them, what is a
wonderful sight. If
you listen carefully, you
will hear the melodies
which belong to the
characters as they march
past. Oh what a grand
spectacle!
Durkle
Bandrydge is de
schijnwereld van de
componist maar eigenlijk
de onzichtbare
droomwereld in elk van
ons en die wereld zou
elke naam kunnen
dragen. In de
bijzonder kleurrijke
suite van Bruce Fraser
komen 8 personages
(karakters)naar voren
ieder met hun
eigenaardigheden die van
Durkle Bandrydge zo'n
kleurrijke wereld
maken. Verschillen
die personages nu zo erg
van ons? Aan u het
oordeel! Het laaste deel
brengt alle personages op
een wonderbaarlijkewijze
samen. In de score
zijn de karakters
uitgebreid en nader
omschreven.
Performance note:
Elk deel heeft een aantal
leerinhouden die de
moeite waard zijn om uit
te lichten. Articulatie,
dynamiek, stijlen,
zuiverheid,balans, tempo
en maatsoorten - het komt
allemaal voorbij.
Tip: Maak de
personages zichtbaar in
een compleet
theatergebeuren. Gebruik
een spreekstem!
De delen van deze suite
zijn:
1.
Somnambulyss 2.Long
Gwysteen 3.
Squelfitch 4.
Perfydlia 5. Maryann
Lovely 6. Thistledoo
Nicely 7. Marsyn
Edginton 8. Jimmy
McScotsmyn 9. Grand
March of the Durkle
Bandrydgators.
Piano SKU: HL.14010480 Piano Solo. Composed by Per Norgard. Music ...(+)
Piano
SKU:
HL.14010480
Piano
Solo. Composed by Per
Norgard. Music Sales
America. Classical. Book
[Softcover]. 7 pages.
Music Sales #KP00717.
Published by Music Sales
(HL.14010480).
ISBN
9788759870082.
Danish.
Esperanza -
Eremitkrebs-Tango (1997)
Hermit Crab Tango,
Esperanza is part of
Norgard's Animals in
Concert, a suite of piano
pieces, so far comprised
of: 1. A Tortoise's
Tango (1984) - dur.:
4' 2. Light of a
Night - Paul meets bird
(1989) - dur.: 6'
3. Hermit Crab Tango -
Esperanza (1997) - dur.:
5' The pieces can
be performed together or
one by one. In
the1980s, quite a few
“finds”
turned up in Per
Norgard's music. The
material could be, say, a
number of song birds'
equilibrist melodic
lines, the overtones of
the ocean surf, or
waltzing themes by the
schizophrenic artist
Adolf Wolfli (1864-1930).
Or again, as heard here,
it can be the rhythms and
motifs of the tango and a
Beatles song (with bird),
explored in three
independent piano pieces
that form the Animals in
Concert suite, about
which the composer
writes: Programme
note for Animals in
Concert: 1. A
Tortoise's Tango (1984) -
dur.: 4' 2. Light
of a Night - Paul meets
bird (1989) - dur.:
6' 3. Hermit Crab
Tango - Esperanza (1997)
- dur.: 5' The
pieces can be performed
together or one by
one. In the1980s,
quite a few
“finds”
turned up in Per
Norgard's music. The
material could be, say, a
number of song birds'
equilibrist melodic
lines, the overtones of
the ocean surf, or
waltzing themes by the
schizophrenic artist
Adolf Wolfli (1864-1930).
Or again, as heard here,
it can be the rhythms and
motifs of the tango and a
Beatles song (with bird),
explored in three
independent piano pieces
that form the Animals in
Concert suite, about
which the composer
writes: “A
Tortoise's Tango”:
The tortoise as tango
dancer must presumably
possess certain rhythmic
peculiarities, which I
have chosen to express by
letting the tune of the
tortoise shuffle broadly,
tripartite through the
strict four partite time
of tango. Tortoise
Tango was the original
title of this piece,
“written for
Achilles” (the
pianist Yvar Mikhashoff),
for his so called tango
project”, including
new tangos for piano by
composers from all over
the world.
“Light of a Night
(Paul meets bird)”
was commissioned by
pianist Aki Takahashi. It
is a
“reworked”
arrangement for piano of
the Beatles song
”Blackbird”.
As some of us will
recall, the Beatles on
“The White
Album” let the
beautiful song to the
blackbird be accompanied
by an (apparently) live
blackbird song. It is
this authentic bird-motif
world that in
“Light of a
Night” weaves
itself into the Beatles
melody and in turn is
gradually infected by it,
so that a completely new
third entity ensues: a
kind of Bird-rock ballad
(or maybe it is a
Beatle-bird?).
“Hermit Crab Tango
(Esperanza)”: The
tango situation is quite
special for a Hermit
Crab. It is a well-known
fact that the hermit crab
- this soft animal - must
run the gauntlet among
the many perils at the
bottom of the sea when it
must move hose. I have
chosen to express the
angers by a.
Escapology Piano, Voix et Guitare [Partition] Alfred Publishing
(Piano/Vocal/Guitar). By Robbie Williams. For Guitar; Keyboard; Piano; Voice. Th...(+)
(Piano/Vocal/Guitar). By
Robbie Williams. For
Guitar; Keyboard; Piano;
Voice. This edition:
Piano/Vocal/Guitar.
Artist/Personality;
Personality Book;
Piano/Vocal/Chords. Book.
Published by Alfred Music
Publishing